The Legendary Pink Dots have left an indelible imprint on the worlds of psychedelic rock, post-punk, Gothic rock, the avant-garde, noise, ambient, industrial, synth pop and electronic music since its inception in1980. Fronted by Edward Ka-Spel, the Pink Dots have evolved through various lineups and shifting musical styles exploring musical and non-directly musical ideas for over four decades now leaving in the wake of that path of experimentation and rich a prolific body of work all worth a listen. From the late 80s through the early 90s there was a sea change in the band’s music as its membership expanded and its songwriting style shifted toward the kinds of lush atmospherics and dreamlike melodies and textures of 1990’s Crushed Velvet Apocalypse and even more fully on the 1991 album The Maria Dimension (now released in a 3 CD extended edition). That era of the band reached wider audiences and established The Legendary Pink Dots as a cult band with a wide international following from the alternative rock era to this day. Its enigmatic yet colorful and highly emotionally charged story songs provide a kind of parallel narrative to established cultural paradigms, sagely commenting on the prevailing culture in which we all live and which we all navigate and offering insight into civilizational themes and expressing deeply personal reactions to and thoughts on he lived human experience. The group’s highly imaginative and creative music never abstracts feelings but finds a way to make the complicated and difficult explicable. The live shows are a cathartic celebration of life and dreaming and seeking and finding deeper meaning set to sonically rich and transporting soundscapes. In 2022 the Pink Dots released its latest album The Museum of Human Happiness on Metropolis Records and following that, welcomed long time booster, publicist, tour manager and friend Randall Frazier of Denver space rock/ambient band Orbit Service into the current lineup alongside Ka-Spel, long time multi-instrumentalist Erik Drost and live engineer/producer Joep Hendrikx.
Listen to our interview with Edward Ka-Spel on Bandcamp and follow the further adventures of The Legendary Pink Dots at the links provided. Catch the band currently on tour in North America including two dates in Denver: Saturday November 19, 2022 at the Mercury Café with Orbit Service and The Drood and Sunday November 20, 2022 at the Mercury as well with Dead Voices on Air and Edward Ka-Spel doing a solo performance featuring Tom Hagerman of DeVotchKa.
Tuesday | 11.01 What: Jeffrey Lewis w/Gila Teen and Emily Frembgen When: 7 Where: Lost Lake Why: Jeffrey Lewis is a cartoonest best known for his long running Fuff series (formerly Guff) and one of the leading lights of what some music commentators have dubbed the “antifolk” movement of the 1990s and 2000s. What that means in practice is very lo-fi sometimes folk-punk songs that are stories from everyday life of an unvarnished honesty that fans of artists like Daniel Johnston, Wolf Colonel and Moldy Peaches will appreciate for how it makes few concessions to commercial music convention in the songwriting, the raw performances and in the released recordings. But there’s something real and emotionally resonant that feels like something that isn’t mass produced the way a lot of commercial pop and non-pop music lending the music a quality that isn’t just vital but life-giving. Similarly-minded formerly Colorado-based, experimental folk pop artist Emily Frembgen is on the bill as is the post-punk/avant-emo/heart-on-sleeve weirdo pop duo Gila Teen.
Tuesday | 11.01 What:Mercyful Fate w/Kreator and Midnight When: 6 Where: The Fillmore Auditorium Why: Mercyful Fate was a band that was part of the first wave of black metal during its initial run from 1981-1985. Fronted by King Diamond, a theatrical vocalist whose operatic vocals meshed well with the progressive, melodic guitar work and with its sinister stage presence the group exerted a massive influence on thrash and death metal on the musical level and in terms of aesthetics and the subject matter of its lyrics. Its first two albums Melissa and Don’t Break the Oath are rightfully considered genre standouts. It might be said that the outfit sounded like an evil version of Judas Priest but its songwriting was markedly different with progressive rock roots more obvious. After Mercyful Fate split in 1985 King Diamond went on to a respectable and arguably equally influential career with a band under his name. But from 1993 and onward the band has spent periods reunited, releasing new material along the way. It’s just fortunate that this show is happening on the Day of the Dead with thrash legends Kreator also sharing the stage.
Tuesday | 11.01 What:Sloppy Jane w/Niis and Polly Urethane When: 7 Where: Hi-Dive Why: Sloppy Jane is a post-punk band from Los Angeles whose 2021 album Madison is an orchestral and baroque pop affair more akin to something in the realm of a 2000s chamber pop band than its earlier sound, a raw, dark punk sound. Founded by Haley Dahl at age fifteen the group’s 2015 debut EP Sure-Tuff sounds like hours of absorbing Hole, Lydia Lunch and early death rock and moving onto the realm of underrated art punk bands like Mika Miko. In the early years of the band a bassist named Phoebe Bridgers added to the mix before moving on to an acclaimed singer-songwriter career of her own and establishing Saddest Factory, the label that is home to Madison. Niis, also from Los Angeles, sounds founded on similar roots as Sloppy Jane but with a more cutting and fuzzy sound yet the same kind of emotionally stirring and ragged exuberance. Its cover of Elastica’s “Connection” from its 2020 Not Niis EP captures the unhinged spirit of the original in a more punk mode. Opening act Polly Urethane combines an elemental kind of performance art with eruptive emotional energy with the elegance of classical music sensibilities and distills it into an unforgettable live show that feels like anything could happen.
Wednesday | 11.02 What: Magdalena Bay w/BAYLI When: 7 Where: The Bluebird Theater Why: Magdalena Bay is a synth pop duo based out of Los Angeles. Mica Tenenbaum and Matthew Lewin met while in high school as part of a music program but formed their own progressive rock band before forming the current project in 2016. With some early releases under its belt, Magalena Bay dropped its debut full length Mercurial World in October 2021 but haven’t been able to properly tour in support of the album until now. The album like the group’s website taps into some retro aesthetics and uses them in a self-aware but creative new ways. The website mercurialworld.com looks like an old Geo Cities website and all across the record one hears sampling of 8-bit sounds that give it a touch of grit while perhaps invoking the sounds of artists like Charli XCX and the original Crystal Castles. Opening act BAYLI recently released her Stories 2 EP and lead single “act up” and the attendant music video presents a complex and nuanced take on relationships and identity and the ways we interact with the world around us. Its sultry vibes and synth infused R&B sound isn’t so easily defined by narrow genre designations as its themes utilize a strong but gentle pop hook that renders it possible to accomplish in under three minutes what an entire movie can often fail to accomplish with nearly as much grace and poetry.
Thursday and Friday | 11.03 and 11.04 What: Illuminati Hotties w/Enumclaw and GUPPY When: 7 (11.03) and 8 (11.04) Where: Globe Hall Why: Enumclaw’s new album Save the Baby is an update on its raw and vulnerable sound somewhere on the outer fringes of an unlikely alchemy of post-punk and emo. The band has always been adept at building an inspired imperfection into its songwriting in a manner similar to what Dinosaur Jr has done since its own inception. The emotional core is what hits the hardest and the vocals are a little rough around the edges but seem to somehow fit the moment perfectly. For the new record Enumclaw has refined the raw power of Jimbo Demo and tightening the dynamics without sacrificing the unvarnished feel of the music that made it so appealing from the beginning. It’s fairly rare that someone more or less begins their music career as a recording engineer but that’s what Sarah Tudzin of Illuminati Hotties did before she got her musical project off the ground in 2017. In 2021 Illuminati Hotties released its second album Let Me Do One More and reaffirmed the project’s status as expert purveyors of punk infused pop hooks and imaginative song titles and subjects like “Threatening Each Other re: Capitalism” and “Joni LA’s No. 1 Health Goth.” Fortunately, the songwriting is fully capable of embodying the implied social critique with the meta humor one would hope to hear. GUPPY from Los Angeles somehow makes delicate guitar work and twee sensibilities come off as punk and its 2022 album Big Man Says Slappydoo has enough pop culturally aware irreverent humor to seal its punk bonafides.
Friday | 11.04 What: Cuffed Up w/Shadow Work and Wiff When: 6/6:30 Where: HQ Why: Cuffed Up from Los Angeles came together in 2018 inspired in part by the post-punk coming out of Ireland and the UK in the 2010s. Acts like Fontaines DC, IDLES and Shame set a template of politically conscious rock music with a personal immediacy set to a headlong pace and imaginative, atmospheric guitar work and impassioned vocals. With two EPs under its belt including the 2020 self-titled and 2021’s Asymmetry, Cuffed Up is proving itself to coming to be worthy of its influences. This is a bit of a one-off show in Denver hinting that maybe Cuffed Up is working with a local producer or album mixer but whatever the reason for this jaunt from California it’s a rare opportunity to catch the band before it becomes the subject of much buzz.
Friday | 11.04 What: Os Mutantes w/Claude Fontaine https://www.bluebirdtheater.net/events/detail/435716 When: 7 Where: The Bluebird Theater Why: Fitting that legendary and influential Brazilian psychedelic rock and Tropicália band Os Mutantes are touring in the wake of its home country’s recent election of Luiz Inácio Lula da Silva aka Lula to the presidency over his fascistic opponent former president Jair Bolsonaro. The band was associated with the dissident movement in the late 1960s during the then Brazilian dictatorship so it’s playful and otherworldly music had a subversive element and a soundtrack to a countercultural moment. Its 1968 self-titled album is a bonafide classic of world psychedelic music and Os Mutantes had a bit of an international following before splitting in 1978. The band reunited in 2006 and has been touring on and off since and having released three new albums following that reconvening operations.
Friday | 11.04 What: Hi-Dive Anniversary Night 1: The Spits, Zebroids, Colfax Speed Queen, Townies When: 8 Where: Hi-Dive Why: The Hi-Dive has been operating since early November 2003 and will celebrate the occasion with two nights of shows including this oe with the garage punk legends The Spits, punk rock tricksters Zebroids, psychedelic garage phenoms Colfax Speed Queen and Townies, a band of Denver expatriates to Trinidad who have an element of humor at the core of its identity of the band despite having serious rock songwriting chops and musicianship.
Saturday | 11.05 What: Hi-Dive Anniversary: Warthog, Of Feather and Bone, Candy Apple and Spiritual Poison https://hi-dive.com/event/warthog-of-feather-and-bone-candy-apple-tba When: 8 Where: Hi-Dive Why: The Hi-Dive Anniversary festivities continue for a second night with veteran, NYC thrash crossover quintet Warthog, psychedelic death metal legends Of Feather and Bone, noise rock/hardcore trip Candy Apple and Ethan McCarthy’s other noise project, the more ambient and orchestrated sound environment Spiritual Poison.
Saturday | 11.05 What: Kevin Morby w/Coco https://www.gothictheatre.com/events/detail/?event_id=427528 When: 8 Where: Gothic Theatre Why: Kevin Morby came to prominence in experimental folk group Woods when he was living in NYC in the mid-2000s and then with his band The Babies with Cassie Ramone of Vivian Girls. But once he moved to Los Angeles he firmly established his solo career with the 2013 debut album under his own name, Harlem River, a record paying homage to his former home city. Morby’s creative arrangements transcend specific music styles so that when you hear his music its the songwriting that catches your attention more so than trying to frame it into a stylistic context. Maybe its his attention to rhythm and structure with texture in the flow of melody like he listened to a lot of mid-70s Sly & The Family Stone, Devendra Banhart and the breadth of Bob Dylan’s output. His latest album This Is a Photograph is his most thematically and emotionally direct album to date and its pastoral introspection doesn’t feel like a pose or pretense but rather a vehicle at illuminating honest and deeply observant personal insights. Opening act Coco released its self-titled debut album in 2021 and the project includes Maia Friedman (of Dirty Projectors, Uni-Ika Ai), Dan Moland (Lucius, Chimney) and Oliver Hill (Pavo Pavo, Dustrider). There is a great use of space in which the group casts sultry moods and soulful soundscapes to accompany gorgeously melodic and warm yet lonely vocal harmonies. It’s the kind of slowcore pop one might expect more out of Low when that band isn’t going fully into gloriously avant-garde mode. The elegant bass lines and and a willingness to let the physicality of the performance of the music to leak into the recording gives it an immediacy and grounding that matches the tenor of the way the musicians sync so perfectly with their voices.
Sunday | 11.06 What:Cloakroom w/Seer Believer and Cherished When: 8 Where: Hi-Dive Why: Cloakroom’s 2022 album Dissolution Wave might be seen as a Utopian concept space rock album about creating a parallel new world to process and replace the world as we know it with all its environmental degradation, political and social decay, oligarchic domination and the commodification of all levels of our lived experience. It’s like a western doom record with the core idea being a technology, the generator of the titular energy, that obliterates all existing creative work and abstract thought including all ideologies, philosophy and much of what we take for granted as the foundations of our civilization. Except there is “the Spire and Ward of Song” that filter human imaginative accomplishments so that only the best ideas and creations can get through and fuel the continuation of the world. The album also finds the band branching even further into melodic accessibility with broad vistas of dream-like pop hooks drifting in distorted haze and sheets of discordant tones. The effect is mutually complementary. It’s also among the best shoegaze albums out of the past decade and the perfect blend of dense atmospherics and transporting tonal drifts. Opening are Denver shoegaze bands Seer Believer and Cherished, the latter being a group that seems to fit in well in this realm of music as well as post-punk for its vibrantly vulnerable moods.
Monday | 11.07 What:Patriarchy w/Street Fever and Sell Farm, Kill You Club DJs When: 7 Where: Hi-Dive Why: Patriarchy is currently touring in support of its 2022 album The Unself and proving itself purveyors of a sound that perhaps has some roots in Gothic industrial sounds and saturated synth tones and a darker form of dance music. Fronted by Actually Huizenga, the group’s aesthetic perfectly blends the hyper real, stark visual style of 80s slasher films, Giorgio Moroder’s cinematic compositions, David Lynchian noir and both ancient and modern mythology for its performance style and the content of the music. It’s a band that embraces the theater of camp and its exploration of themes about sex and power in society and personal relationships is provocative and thought-provoking while delivering a bombastic and challenging music that is also danceable and joyous in its catharsis.
Tuesday | 11.08 What:Echosmith w/lostboycrow and Band Of Silver When: 7 Where: The Marquis Theater Why: Echosmith is a pop band that formed in 2009 in Chico, California. The former and current quartet are siblings Sydney, Noah, Graham and Jamie Sierota (Jamie having taken a break from the band from 2016-2022). Adopting the moniker when the group signed to Warner Bros. Records in 2012 (previously having performed under the name Ready Set Go!), Echosmith released its debut album Talking Dreams in 2013 which yielded the hit single “Cool Kids” about not really fitting in with the popular crowd but being comfortable with being different. Following the performance and touring cycle behind the debut album on a major label, Echosmith found itself saying yes to every opportunity to advance the band and listening to industry people in helping to further their career and that meant long term that there wasn’t enough time to write and develop new material aside from an occasional EP until the group took steps to do so in time to issue the sophomore album Lonely Generation in January 2020. With the onset of the pandemic and the enduring and continuing impacts on tour and thus supporting a new record Echosmith had time to reassess its priorities and reconnect with the ideas and inspirations that initially got the group off the ground into a serious project and during that process went with a more open approach to its songwriting as heard on new singles “Hang Around” and “Gelato” hinting at the new chapter of Echosmith’s creative development. Recently “Cool Kids” garnered some renewed interest when it was used in TikTok videos by the likes of Demi Lovato, Drew Barrymore, Lindsay Lohan, Addison Rae and Hayley Kiyoko who felt the song expressed their own feelings about looking back and seeing how far they’ve come as people. The trend of utilizing the song has garnered more than six million views to date. Echosmith in response to that did a new version of the song with a new music video with “Cool Kids (our version).”
Tuesday | 11.08 What: Charles Lloyd Ocean Trio feat. Gerald Clayton and Anthony Wilson When: 6/7 Where: MCA Denver at the Holiday Theater 2644 W. 32nd Ave, Denver, CO 80211 Why: Charles Lloyd is a tenor saxophone and flute player and one of the few remaining legends of the age of jazz in which he performed with the likes of Ornette Coleman, Don Cherry, Eric Dolphy and other leading talents of west coast jazz. He also formed his classic quintet in 1966 with Jack DeJohnette, Keith Jarrett and Cecil McBee. Their 1966 live album Forest Flower is said to have built an audience among fans of rock, fans of jazz and the hippie counterculture that was on the ascent. Lloyd was also an early adopter of incorporating the music of various cultures beyond his own American context into his compositions. Lloyd is also one of the most prolific artists of his generation who has continued releasing albums through ECM and Blue Note including the 2022 twin albums Trio: Chapel and Trio: Ocean. His imaginative arrangements and creative performance style both elegant and forceful has kept his work vital and consistently worth a listen.
Tuesday | 11.08 What: Tegan and Sara w/Tomberlin When: 7 Where: Gothic Theatre Why: Tegan and Sara Quin are twin sisters who formed their pop project Tegan and Sara in 1998 in Calgary. Multi-instrumentalists, the Quin sisters first started getting a name for themselves in underground music circles more widely with the release of the 2000 album The Business of Art. Warm vocal melodies, gentle yet exuberant energy and tender, declarative, observational song have been part of the Tegan and Sara sound since early on and even though they have refined their songwriting and performances and collaborated with numerous other musicians there is a comforting consistency in knowing that a new Tegan and Sara record will have some words of condolence, of emotional clarity and an articulation of struggle and finding the right tone of humor in unexpected situations. This is also true of their new album Crybaby which released a week after the October 14, 2022 premier of their TV series High School (based on their 2019 memoir of the same name) on Amazon Freevee. Of course the live show will feature the duo’s signature, highly engaging stage banter and commentary on the state of the world and sharing the bill for this night is experimental folk pop singer-songwriter Tomberlin whose 2022 album i don’t know who needs to hear this captured a relatable impulse to restlessness and personal set of songs the speak to a yearning for connection and tranquility in a particularly troubled time in human history.
Wednesday | 11.09 What:Meat Wave w/Moon Pussy and SPELLS When: 7 Where: Lost Lake Why: Chicago’s Meat Wave in true tradition of that city’s underground music is difficult to define precisely. Fans of noise rock in the Amphetamine Reptile and Touch and Go vein will find much to like. There is a touch of the angular intensity of Shellac there and a melancholic desperation channeled into cathartic bursts of noise that dissolve and reform in raging passages. Its 2022 album Malign Hex not only has one of the best album titles of the year but imbued with a seething urgency balanced with a touch of near meditative atmospherics that break and dive off into unexpected directions. It sounds both conflicted and resigned and isn’t that one of the prevailing spirits of recent years with thwarted and then blunted frustrations waiting for release but let to hang and rot and transform into a mutant form of lingering neuroses that is still playing out in the culture. Meat Wave gives that decay and psychic poison a thrilling outlet. Denver pop punk band SPELLS may seem like the party group of every season but its own lyrics give form to an adult will to do something of significance only to find that the machine has you locked in for a mediocre fate so you decide to mock the situation and make the kind of music that rebels against being so unceremoniously shuffled off into the extra person column of modern civilization. Moon Pussy and its wiry and explosive dynamics takes the surreal absurdity of the life and world we have to contend with every day and transmutes it into an irresistible sonic release that every time makes you think maybe rock music isn’t dead after all.
Wednesday | 11.09 What:Slander: Thrive on the Rocks w/Virtual Riot, Moore Kismet, Leotrix and Saka When: 6 Where: Red Rocks Amphitheater Why: Slander’s Thrive on the Rocks show will of course feature the well-known dubstep band. But get there early because Moore Kismet will have a set. Their 2022 album UNIVERSE is a deep dive into exploring the possibilities of modern electronic dance music production and songwriting. Where another artist might embrace a trope of the style of music, Kismet takes it somewhere else with an imaginative playfulness that draws you in with every track with its attention to every sonic detail culminating in tracks that are flowing with energy but soothing to the mind at once. Its a riveting mix that is innovative and arresting in unpredictable ways even if you’re a veteran of electronic music or don’t even really get it. With its supreme sound design and creativity UNIVERSE is worth a listen and Moore Kismet is a young artist who seems set on helping to change the world of electronic dance music for the better.
Thursday | 11.10 What: Militarie Gun w/MSPaint, Public Opinion and Dirt Sucker When: 7 Where: Seventh Circle Music Collective Why: Militarie Gun is set to release the deluxe edition of its 2021 album All Roads Lead To The Gun on November 18. The Los Angeles-based hardcore band has those confrontational vocals but there’s something more arty about its guitar work and rhythms more like an old DC post-hardcore band of the 80s but more rooted in modern hardcore. Regardless of its actual roots it has earned a reputation as one of the most exciting bands out of the current wave of punk and hardcore. MSPaint from Hattiesburg, Mississippi sure seems to play some hardcore shows and the intensity of its performances are in that vein in terms of energy but its own music is a fusion of that spirit and bass and synth driven post-punk with songs that capture perfectly the fractured spirit of the American culture and consciousness. Its 2020 self-titled demo is truly one of the most original sounds coming out of the milieu of hardcore and the live show is a barn burner of inspiration and enthusiasm.
Thursday | 11.10 What: Hermanos Gutiérrez When: 7 Where: Globe Hall Why: Hermanos Gutiérrez is a two piece band comprised of brothers Alejandro and Estevan Gutiérrez. It’s an instrumental project that fuses the traditions and influences of their Ecuadorian mother and Swiss father and the 2022 album El Bueno Y El Malo sounds like a hybrid of Santo & Johnny, Neil Young’s soundtrack work for Dead Man (1995) and a more modern form of pasillo. The introspective pastoral quality of the music is gorgeously tranquil but suggests long journeys and a searching spirit as each song explores nuances of mood and emotion while capturing a sense of place both physically and in the mind.
Friday | 11.11 What: Specter Poetics (Omaha goth pop), Jeff In Leather (Omaha techno pop), Hex Cassette, Pattern Screamers (angular new wave) When: 7:30 Where: Jester’s Palace Why: Denver Blood Cult presents a night of darkwave from Nebraska but also includes a performance from Denver confrontational industrial dance legend in the making Hex Cassette. His friendly cajoling of the audience from stage paired with music that is aimed at evoking a spirit of excitement in the face of a bevy of overwhelming challenges internal and external. Pattern Screamers might be described as an art punk band based purely on its 24-Hour Write-A-Record Challenge EP and the song “Grocery Store” and “Internet.” Specter Poetics bridges the worlds of synth-infused post-punk and dark New Wave revival. Jeff In Leather is more techno dream pop dance music style.
Saturday | 11.12 What: Mister Water Wet, M. Sage, snowfloer and Aspen Colorado When: 8 Where: Glob Why: Mister Water Wet is a Kansas City-based artist whose prepared environments and ambient drones found an especially evocative form on the 2022 album Significant Soil. M. Sage spent many years helping to keep Fort Collins weird with his experimental pop bands and his own tape collage style experiments in creating unique soundtracks to spaces of his own imagining. Aspen Colorado is a side project of performance artist/experimental modern classical/industrial darkwave artist Polly Urethane. Might be the only performance of Aspen Colorado and this is your chance to catch what will likely be an interesting showing of that. Snowfloer is Derrick Bozich’s solo project and you may know him as a guitarist in Sound of Ceres and formerly of Ancient Elk and Grease Pony among other projects more in the realm of indie rock.
Sunday | 11.13 What:Holy Fawn w/SOM and Grivo When: 6:30 Where: The Marquis Theater Why: Holy Fawn from Phoenix, Arizona is a four-piece that has been exploring and evolving a sound that brings together an introspective ethereal soundscape with a heaviness of mood that reflects a depth of feeling found on all of its recorded output. From its 2015 debut EP Realms to its 2022 album Dimensional Bleed one hears in the music of Holy Fawn expansive melodies and tonal brightness paired with a textural grittiness that feels like a cathartic and transcendent journey into deep emotional spaces. In that sound one hears echoes of obvious influences in realms of shoegaze, post-rock, black metal and the more atmospheric post-hardcore and emo with lush swarms of intricate guitar and intertwining rhythms. But there is also an element of musique concrète to the songwriting bringing in field recordings and tape collages to augment a sense of layered meaning and lending Dimensional Bleed in particular a cinematic quality that can create a rippling shift of sonic focus in every moment of a song. Without attachment to a specific style of music, Holy Fawn is able to deftly navigate and even embody multiple genres at once as suggested by the title of its new record. Also on the bill are two of the other current master practitioners of heavy atmospherics. SOM whose own 2022 album The Shape of Everything is brimming with uplifting and illuminating sonics and Grivo from Austin, Texas whose album Omit (also 2022) reveals a gift for shaping transporting drifts of luminously dense melodies.
Monday | 11.14 What:Exhumed w/Escuela Grind, Vitriol, Molder When: 7 Where: HQ Why: Deathgrind legends Exhumed bring the tour in support of its new album To The Dead to Denver. Formed in 1990 when vocalist and guitarist Matt Harvey was fifteen years old, Exhumed has gone on to carve out its place in the canon of extreme metal. Its gory lyrics have always been a metaphor for consumerism and political issues and like a good horror movie provides an outlet to explore the horrible things humans do to each other in the name of a religion, a political affiliation, out of greed or any other unsavory motivation. To The Dead is another fine visceral litany of raging dismay in Exhume’s prolific catalog.
Monday | 11.14 What: Beth Orton w/Heather Woods Broderick When: 7 Where: Oriental Theater Why: Some people may know Beth Orton for her unforgettable collaborations with legendary producer and electronic music artist William Orbit in particular “She Cries Your Name” and her contributions to Orbit’s song “Water From a Vine Leaf.” But Orton’s album under her own name have been eclectic and sonically rich including her 2022 album Weather Alive. Orton’s hushed, soulful vocals and ear for deeply evocative melodies and unconventional production has garnered her a bit of a cult following over the past three decades. But Weather Alive is a bit of an unexpected entry in her catalog as its attention to detail and the crafting of atmosphere and mood in the context of masterfully crafted songs makes it perhaps her finest offering to date.
Tuesday | 11.15 What: DUMA w/Masma Dream World, Knife Band and Watching People Drown When: 7 Where: The Coast Why: Masma Dream World is the solo project of multi-disciplinary artist Devi Mambouka that incorporates elements of Butoh, drone, theta frequency and ambient music. In 2020 the debut Masma Dream World album Play at Night but likely didn’t get a proper airing to a wide public because November 2020 was in one of the depths of the ongoing pandemic. The record is a mesmerizing listen that taps into parts of your brain that feel like a direct connection to the subconscious and one’s ancient ancestors. The use of percussion and unconventional tonalities and shamanic vocals creates a real moment throughout the recording as Mambouka makes sacred psychological space with the music opening a path to a mindset that exists outside the usual and unrelenting considerations of narrow materialism and demands on time at every moment from multiple sources. The music is a journey into a headspace that is always there for you to access but which can seem blocked from your conscious mind by habits of living that prioritize the needs of a corrosive economic system rather than what fortifies your life for real and that of everyone else and the rest of the world generally. It’s a therapeutic listen that exists outside the bounds of musical convention. DUMA (“Darkness” in Kikuyu) is a band that has emerged out of the underground metal scene in Nairobi, Kenya. Martin Khanja and Sam Karugu released their2020 self-titled debut during the height of the current pandemic and thus international touring has been all but impossible now. So fans had to give its harrowing and stark and frenetic soundscapes online or through purchasing a record from Nyege Nyege Tapes. The haunting and riveting soundscapes crafted by the two musicians is unlike most anything you’re likely to hear anywhere that is undeniably rooted in grindcore but also lo-fi industrial and imbued with a political awareness and existential angst that gives it a rare and very real edge.
Tuesday | 11.15 What:Brothertiger w/Neo Tokyo Philharmonic When: 7 Where: Lost Lake Why: Oh the 2022 self-titled Brothertiger album John Jagos demonstrates what sounds like a great deal of growth as a songwriter. Certainly he has emerged from being one of the leading lights of chillwave in the late 2000s and 2010s having grown beyond the confines of that microgenre. During the early months of the pandemic Jagos acquired vintage samplers and synths manufactured by Ensoniq employed by sophisti-pop artists of the 80s influenced by the lush and dusky sounds of Roxy Music’s 1982 album Avalon. Think ABC, Level 42, Prefab Sprout and Spandau Ballet and Everything but the Girl. There’s a soulful quality to the collection of songs that hearkens back to a time when people were coping with dire international tensions and the looming threat of authoritarian domination but needing an escape into something that released some of that tension. There is a soothing quality to the album whose lyrics also seem to look to a near future where people are able to build a life and forge one without as much of the persistent oligarchic boot to the neck where anyone can take the time out to contemplate what to do with your ample leisure time. It’s not an album that ignores the current state of things but one that recognizes that sometimes we all need an interlude out of that pressure for a bit and the ability of music to provide that emotional space.
Wednesday | 11.16 What:No Age w/John Wiese and New Standards Men When: 7 Where: Hi-Dive Why: No Age is a noise rock/art punk duo based in Los Angeles, California. Drummer/vocalist Dean Spunt and guitarist/vocalist Randy Randall had been in a band called Wives from 2001-2005 that had been a staple of the underground/DIY music world at the time. But Spunt and Randall scrapped the name and took their then musical ideas and recast their efforts as No Age with their first shows under the new moniker in early 2006 with their second show at the legendary DIY space The Smell in April of that year. From the beginning there was a refreshing lack of pretension and exuberance in the sound of No Age. Like a fusion of The Ramones at its most raw and the lo-fi experimentation and tape collage aesthetic of The Microphones. Within the often grainy and charmingly unvarnished early recordings one could hear a joyfulness and embrace of lived experiences that could contain and express a broad range of emotions and ideas in a manner often spirited and tender. There was always an element of vulnerability to No Age’s version of punk that transformed the music into something immediately accessible, like an unspoken invitation into a shared experience of thoughts and feelings it’s easy to think of going through alone and in isolation. No Age as artists and as a band have always approached its music and its operation as a band with a community spirit and that underlying ethos is something one an hear and feel in all of its albums and at its live performances. The group’s 2007 debut full length compilation of its early EPs and singles Weirdo Rippers (FatCat) is a fantastic introduction to the core No Age sound with a title that captures what you’re in for hearing, that is to say exciting music for people who embrace being different from mainstream expectation. From 2008-2013 No Age was signed to SubPop which helped to push the band to wider audiences. The most recent No Age album People Helping People (Drag City, 2022) is one of its most daring to date and bringing into the mix more fully the musique concrète element heard from its beginnings with gorgeously dream-like tape collages set alongside its signature vital rock songs. It may be the most fully realized No Age album to date and sonically among its most arresting. Opening the show are instrumental noise rock mutants New Standards Men who answer the question of what one might get if weirdos who were into Ruins, Talk Talk, Patrick Shiroishi, John Zorn and Tangerine Dream might do. Also noise legend John Wiese who has long been a part of the Southern California DIY underground.
Thursday | 11.17 What: Till The Teeth w/Pythian Whispers, Laudanum Quilt and Doc Box When: 8 Where: Glob Why: Till The Teeth is a Seattle based duo of Sandesh Nagaraj and Jonathan Rodriguez. Its releases thus far suggest a compositional style that employs techniques of soundscaping one most often associates with musique concrète, ambient, noise, prepared environment and ritual drone inspired in part by non-musical experiences, ideas and concepts whether cinematic, explorations of pure imagination or simply being struck by everyday occurrences and encounters. And the local openers come from a similar approach to making sound art. Laudanum Quilt whose prolific output for the last more than half a decade has put soundtracks to imagery, stories, quasi-mythologized personal experiences and the union of urban and rural environments. This author’s own project Pythian Whispers properly became a band when friends with a mutual interest in cinema, non-conventional music and other visual arts made music together and continued evolving beyond harsh ambient noise, experimental electronic music, drone and psychedelic abstract prog into whatever realms of sound came together through spontaneous improvisation.
Thursday | 11.17 What: Dead Boys w/The Briefs, Suzi Moon and Fast Eddy When: 7 Where: Oriental Theater Why: Dead Boys are an influential early punk band from Cleveland, Ohio whose only constant member Cheetah Chrome was also in proto-punk band Rocket From the Tombs with Peter Laughner who also contributed to the early music of post-punk legends Pere Ubu. The band’s 1977 debut Young, Loud and Snotty with its ramshackle sound and raw and abrasive style proved influential on punk and glam metal going forward. The group’s volatile energy yielded one more album We Have Come For Your Children (1978) before the band broke up for what would have been good in 1980 with lead singer Stiv Bators going on to pioneer a kind of glam death rock with Lords of the New Church. With some brief reunions since then lead guitarist Cheetah Chrome put together a line up of Dead Boys in 2017 that has been touring the classic material on a semi-regular basis.
Friday | 11.18 What:AFI w/Drab Majesty When: 7 Where: Fillmore Auditorium Why: AFI is one of the longest running bands out of the first wave of emo and one of the genre’s most inventive and stylistically versatile. Bridging the worlds of the kind of “horror punk” one associates with the sound of the Misfits, post-hardcore and gothic rock, AFI reintroduced an unabashed visual style for its live performances early on as opposed to the usual punk street clothes style favored by many if not most bands out of punk and emo. Altogether the musical and performance ideas have long helped AFI to stand out from the music scenes with which it has been most often associated. And certainly the choice of post-punk/dream pop duo Drab Majesty as an opener for this tour is an inspired one since the group’s fans seem open to AFI’s proclivity for making music with a similar appeal and presentation. Those unfamiliar with Drab Majesty, its darkly dream pop post-punk is like a more haunting take on the kind of experimental guitar rock of Red Lorry Yellow Lorry and a darker and more gritty flavor of the similarly gossamer toned and emotionally charged sound one hears in Cocteau Twins.
Friday | 11.18 What: Turnover w/Yumi Zouma and Horse Jumper of Love When: 7 Where: The Summit Music Hall Why: Turnover has come a long way since its more pop punk roots as heard on its 2013 debut album Magnolia. Its 2022 release Myself in the Way comes across as a hybrid of dream pop and indie R&B with some synth pop style. Yumi Zouma is the indie pop band from Christchurch, New Zealand whose 2022 album Present Tense has a paradoxically hushed enthusiasm with delicate songs buoyed by an energetic spirit. Horsejumper of Love is a post-punk band from Boston whose albums have been lumped under the designation of slowcore. But anyone that has seen the band knows there is an understated intensity and darkness to its live performances like Nick Cave and the Bad Seeds and the kind of brooding and visceral quality to be heard there.
Saturday | 11.19 What:Legendary Pink Dots w/Orbit Service and The Drood When: 5 Where: Mercury Café Why: The Legendary Pink Dots have left an indelible imprint on the worlds of psychedelic rock, post-punk, Gothic rock, the avant-garde, noise, ambient, industrial, synth pop and electronic music since its inception in1980. Fronted by Edward Ka-Spel, the Pink Dots have evolved through various lineups and shifting musical styles exploring musical and non-directly musical ideas for over four decades now leaving in the wake of that path of experimentation and rich a prolific body of work all worth a listen. From the late 80s through the early 90s there was a sea change in the band’s music as its membership expanded and its songwriting style shifted toward the kinds of lush atmospherics and dreamlike melodies and textures of 1990’s Crushed Velvet Apocalypse and even more fully on the 1991 album The Maria Dimension. That era of the band reached wider audiences and established The Legendary Pink Dots as a cult band with a wide international following from the alternative rock era to this day. Its enigmatic yet colorful and highly emotionally charged story songs provide a kind of parallel narrative to established cultural paradigms, sagely commenting on the prevailing culture in which we all live and which we all navigate and offering insight into civilizational themes and expressing deeply personal reactions to and thoughts on he lived human experience. The group’s highly imaginative and creative music never abstracts feelings but finds a way to make the complicated and difficult explicable. The live shows are a cathartic celebration of life and dreaming and seeking and finding deeper meaning set to sonically rich and transporting soundscapes. In 2022 the Pink Dots released its latest album The Museum of Human Happiness on Metropolis Records and following that, welcomed long time booster, publicist, tour manager and friend Randall Frazier of Denver space rock/ambient band Orbit Service into the current lineup alongside Ka-Spel, long time multi-instrumentalist Erik Drost and live engineer/producer Joep Hendrikx. Opening this show will be Frazier’s psychedelic ambient group Orbit Service and psychedelic, art rock, post-punk mystics The Drood.
Saturday | 11.19 What:Riot Grrrl Party feat. Cheap Perfume, Tammy Shine When: 6 Where: Mercury Café Why: This is an event hosted by Gogo Germaine whose book Glory Guitars recently released to critical acclaim as the highly entertaining and touching memoir of a teenage punk. This event in addition to performances by the powerful, feminist punk band Cheap Perfume and the solo project of Dressy Bessy frontwoman Tammy Ealom as Tammy Shine there will be live burlesque with Becky Taha’Blu, Paloma Nectar, Siouxsie Cupcakes and Siren Sixxkiller, then readings by Gogo Germaine and Hillary Leftwich with Molina Speaks perhaps MCing the evening.
Sunday | 11.20 What: Primo Premier Wrestling’s Emergence w/Wrestling Fiend: Arlo White and musical guest An Hobbes When: 5:45/6 Where: The Roxy Theatre Why: Arlo White has been involved in various ends of Denver music and art for decades with punk and art rock/concept bands like Dead Bubbles, Sparkle Jetts, The Buckingham Squares and others. He has also curated unique shows in a house space hosting the likes of Mercury Rev and Ken Stringfellow. Now White has assembled a performance as Wrestling Fiend. A lifelong fan of the gloriously absurd and dramatic art of professional wrestling and its stories and bombastic events, White reconnected with professional wrestling during the pandemic and found in it a path out of the stasis and despair of the current era. With his production company/media outlet Hypnotic Turtle he has teamed up with Colorado’s longest running independent wrestling promotion company Primos Premier Pro Wrestling. The show will feature pro wrestling, live painting and a musical performance from philosophical nerdcore rapper An Hobbes.
Sunday | 11.20 What: Arrows In Action w/TITUS and Lady Denim When: 6:30 Where: Marquis Theater Why: TITUS has found a way to combine hip-hop and pop punk in a way that draws upon the virtues of both forms of music to make something that might not work with another person’s songwriting. His infectious guitar hooks and emotionally raw and vulnerable lyrics that resonate with the heart on sleeve style of the best pop punk and emo bands of the turn of the century while also informed by the instinct for authenticity that is the backbone of any hip-hop worth your time. The result is a refreshingly sincere body of work thus far including his singles “Love Myself” and “SiCK ABOuT U” that seem to eschew bravado and embrace a sensitive spirit. Opening on this tour with Gainesville, Florida-based Arrows in Action and its likeminded fusion of pop rock and even more tender than usual emo seems like a solid pairing.
Monday | 11.21 What: Black Flag, TSOL, The Dickies, Total Chaos. https://theorientaltheater.com/event/396181/So-Cal-Punk-Invasion-Tour When: 6 Where: The Oriental Theater Why: This tour includes some of the most influential bands out of the Southern California punk underground of the late 70s and early 80s with godfathers of hardcore, Black Flag whose current shows manage to remind one of the brilliantly creative guitar work and rhythms that long time band leader Greg Ginn helped to usher in to a punk world that was increasingly becoming more conformist. TSOL too switched up its own sounds across decades rather than stay stuck in a musical rut and at times embracing a dark, moody post-punk sound alongside its searing hardcore style. The Dickies are one of the longest continually running punk bands in existence starting in the banner year for punk of 1977 and with songs informed by a healthy and irreverent sense of humor while early on helping to establish a style of music that would become pop punk.
Monday | 11.21 What:The Garden w/Machine Girl When: 7 Where: The Summit Music Hall Why: The Garden is a band formed by twin brothers Wyatt and Fletcher Shears and true to its name suggesting growth and evolution the group defies easy categorization. Sure you can see one of their exuberant live shows and hear the influence of pop punk, Green Day in particular, but its visual style is reminiscent of somehow both Suicidal Tendencies and that band’s own embrace of graffiti aesthetics and the kind of theatrical glam of Slipknot or more unlikely but possible Malfunktion, particularly on the singles for its 2022 album Horseshit on Route 66. But the music seems to dip into the realm of electronic music and art rock but thread that into its punk sensibilities completely for a sound that fits in with a modern disregard for narrow genre in songwriting. Which makes opener Machine Girl and its own industrial dance/glitchcore music and borderline unhinged performances seem like a natural choice and one for which its fans have been prepared with The Garden’s own evolution in daring new directions.
Tuesday | 11.22 What:Oruã, Laminate, Horse Bitch and Totem Pocket When: 7 Where: Hi-Dive Why: Oruã is a band from Rio de Janeiro, Brazil that has for more than half a decade been crafting a particularly sonically dense blend of Krautrock, free jazz and Tropicalía. Its 2021 album Íngreme made more clear an incorporation of ideas from library music and indiepop. Also on the bill are Irish noise rock group Laminate, quirky, Denver-based pop punk indie folk mutants Horse Bitch and hazily atmospheric shoegaze group Totem Pocket.
Wednesday | 11.23 What: Reverb and the Verse When: 6-10 Where: Bonacquisti Wine Company Why: Reverb and the Verse has been a staple of the more experimental edge of Denver hip-hop since the late 90s with its vital mix of socially and politically astute lyrics and masterful electronic soundscapes. Its 2022 album BLACKWALL is its final intended album and a barn burner of a record that fuses industrial beats with passionate vocals and expert production that gives the record the feel of something from the future commenting poignantly about the deeply conflicted and imperiled time in which we find ourselves. Think Moby and Nine Inch Nails collaborating with Chuck D for an album to be released on Warp Records.
Friday | 11.25 What:Secret Shame w/Verhoffst, Voight and ilind When: 9 Where: The Crypt ($10) Why: Secret Shame formed in Asheville, North Carolina in 2018. Its members came from the local punk scene and the music they made together was, summed up by a quote found on one or more of its online accounts, “too punk for Goth and too Goth for punk.” But however its sound might be best described its style of dark post-punk struck an immediate chord with people that got to see the fledgling band and even the debut basement demo from 2016 revealed a band that was tapping into emotional spaces resonant with Siouxsie and the Banshees and Xmal Deutschland. Its songwriting quickly developed into the songs that would comprise its energetic self-titled 2017 EP and the 2019 full-length debut album Dark Synthetics. In that vital mix of death rock and synth-infused post-punk one could hear an emotional vulnerability that told stories of struggle and abuse sometimes couched in terms of cosmic horror. And yet there was a core of honest feeling that bled through the metaphors and abstraction. For the 2022 album Autonomy, singer Lena had been working from a place of wanting to not obscure her lived experience and emotional truth and one hears that reflected directly in the music too. It’s still beautifully moody and moving but less haze and more direct tonal expression. Also in the new set of music are more conventionally accessible melodies without sacrificing the grit and darkness that has made the group’s songwriting so compelling since its inception. Autonomy is an album by a band that has come into its own while also a demonstration of an evolution from where it’s been and hinting at further exploration of where the music can go when you feel like you can craft your art from a deeply personal place without needing to couch it in the stylistic terms of anyone else or their narrow expectations. Opening is noise sculptor Verhoffs, techno DJ and avant-garde electronic music composer ilind and industrial post-punk shoegaze techno aspirers Voight. Listen to our interview with Secret Shame here.
Friday | 11.25 What:Emerald Siam, Jacket of Spiders, Juliet Mission and Shadows Tranquil When: 7 Where: Enigma Bazaar Why: Four of Denver’s best live rock bands on one bill doesn’t often happen but the day after Thanksgiving if you choose to show up to Enigma Bazaar you can witness the dark yet triumphant and emotionally expansive music of Emerald Siam, the blues edged, gritty art rock of Jacket of Spiders, Julie Mission’s perfection of transforming brooding shoegaze sounds into expressions of pure joy and Shadows Tranquil’s synthesis of math-y emo, shoegaze inflected metal and psyche cleansing, atmospheric post-punk. Sometimes for an all local bill you have to think maybe one or two of the bands are merely okay or there’s a clear headliner. But not for this show.
Saturday | 11.26 What:beabadoobee w/Lowertown When: 7 Where: Summit Music Hall Why: Lowertown is an avant-pop duo based out of Atlanta. Olivia Osby and Avsha Weinberg met in math class in high school and bonded over a mutual and deep appreciation for jazz. Weinberg was a classical pianist with aims of going to the conservatory and Osby was a fledgling yet prolific poet. Before graduating in 2021 the two released the Honeycomb, Bedbug EP (2020) and the critically acclaimed The Gaping Mouth EP after high school in September 2021 having been picked up by the Dirty Hit imprint. Those EPs revealed a great deal of creative sophistication and development with songs that tapped into electronic music aesthetics, pop, angular post-punk, jazz and folk for a sound that feels intuitive in a way that speaks directly to the lived emotional experience in a way vulnerable and knowing and comfortable in not being so certain. The 2022 debut album I Love To Lie retains all the insightful introspection but the songwriting seems more straightforward and accessible and its content is the most clearly political and incisively observant. “Bucktooth” in particular addresses gun violence, political extremism and the seemingly everyday crisis mode that pervades not just American culture but the state of much of the world. It’s an album written from the perspective of youth and informed by an underlying hopefulness in the face of the dire possibilities and likelihoods and its catharsis of that anxiety is heartfelt and immediately striking. Filipino-British artist Beatrice Kristi Laus performs as beabdoobee and though only 22 has garnered a solid cult following for her early EPs released in 2018. Her breathy, expressive vocals are a compelling contrast with her expert crafting of lively, fuzzy guitar work and a seeming gift for delivering music with a raw spirit and a keen ear for creative melodies. Initially maybe her music seems completely beholden to 90s rock, especially on 2022 album Beatopia, but the sensibility has a touch of meta quality like Laus is soundtracking a 90s coming of age movie she has in her head infused with nosalgia, which fits in with the songwriter’s citing movie soundtracks as an influence on her own work and a desire to make music for films.
Saturday | 11.26 What:Seraphim Shock 25th Anniversary w/Dead on a Sunday, Whorticulture and DJ Celebrytie and hosted by Sid Pink When: 7 Where: The Oriental Theater Why: Seraphim Shock has been spinning its tales of the dark side of American society informed by themes of the occult, Satanism, hedonism and resistance to a puritanical culture that often causes the trauma and neuroses that drive dysfunction. Seraphim Shock’s music is an expression of solidarity with living with that legacy and purging it. It’s debut full length album Red Silk Vow released in 1997 to great local fanfare in the local Goth scene with shows in which lead singer Charles Edward garbed as a Victorian Vampire, top hat and all, orchestrated a stage show with bandmates in corpse paint style. Whether one was fully into the music or not the spectacle was undeniably compelling to the point where it helped to elevate the music in its Goth-industrial style. As the years went on the band’s style adopted a more glam metal sound and Edward more like a sinister yet benevolent professional wrestler look but more sculpted and more like a Goth super hero. This show celebrates the release of that first album and ushers in the next chapter of the band with its impending release of the second volume of The Fairmount Chronicles which launched in 2020. These days the stage show is back to being as theatrical as the early days with Edward exuding the undeniable charisma and commanding presence that has been a feature of the live show for decades. Also here for the proceedings is the classic Seraphim Shock MC, the sarcastic and sardonic MC Sid Pink so maybe we’ll also see a return of his irreverent game show, Think Pink.
Monday | 11.28 What:SRSQ w/Causer and Polly Urethane When: 7 Where: Lost Lake Why: SRSQ (pronounced “seer-skew”) is the solo project of former Them Are Us Too singer Kennedy Ashlyn. Her operatic vocals brought a good deal of emotional weight to the gorgeously ethereal guitar work of the late Cash Askew for a powerfully evocative combination. Her 2018 album Unreality was a tender and engulfing meditation on loss and grief cast in lush and hazy synths and soaring vocals. Her new album Ever Crashing is a statement of rediscovery of a firm sense of self with the usual elegantly evocative synth but including an expanded sound palette of guitar, string arrangements, live drums and other percussion alongside Ashlyn’s singularly expressive voice. People that got to see SRSQ during her time touring in the wake of the release of Unreality know that Ashlyn’s native charisma and emotional vibrance as a performer is undeniable.
Tuesday | 11.29 What: Rosegarden Funeral Party w/Vio\ator and Faces Under the Mirror When: 7 Where: HQ Why: Rosegarden Funeral Party from Dallas, Texas has been blurring the line between shoegaze and post-punk since its inception. Frontperson/guitarist Leah Lane strikes a commanding figure while delivering impassioned vocals and atmospheric guitar wizardry while drummer Dylan Stamas triggers samples and orchestrates the sweeping rhythms with bassist Michael Doty, synthesist Michael Ortega layering the music with vividly cinematic melody. Lane helped to write and produce and perform on (as well as doing the artwork for) Vio\ator’s 2021 album Solitude and the broodily icy tones and gritty synth and bass driven music is the sound of an autumn spent in isolation. Faces Under The Mirror from Denver has been crafting some of the better EBM around since 1994 without much recognition beyond the Mile High City but whose moody yet energetic music is imbued with a sense of joy in the live setting.
Denver-based electronic rock band The Drood has long tapped into the dark side of society and the gloomier places in the psyche for inspiration. Its entrancing soundscapes travel that line uniting ambient soundscapes, art rock, psychedelia, noise and what these days might be called darkwave. Its latest offering is the single “It Must Needs Wither.” The music video represents the first full collaboration between The Drood and Tom Nelsen of Sense From Nonsense and industrial post-punk legends Echo Beds. An abstracted figure seems to sing in the video like a hologram from an ancient civilization delivering a warning to a future society that might imagine itself invulnerable and tough and blinded by hubris to the limitations of the source of its power and the efficacy of what it perceives to be its ability to take on unprecedented challenges. The song was inspired by Shakespeare’s Othello with a dedication to the memory of the millions of people who have died in the last two years of the pandemic thus far largely due to the folly of the collective ideological orientation of most world leaders and those in power and of those who have adopted the values those who see them as lazy, cogs in the world machine and otherwise a drag on the rapid transfer of wealth to the one percent of the one percent even in the face of global disaster. The song has a gentle energy and expresses a despair at the situation as it unfolded and now stands and the visual representation as crafted by Nelsen uses the imagery of dystopian science fiction to bridge the gap between the dissociation of the need to get through these times and the deep emotional impact that has worn on and continues to weight on the psyches of people worldwide. Watch the video on YouTube and follow The Drood at the links provided. Also linked below is the Instagram for Sense From Nonsense where Nelsen has been sharing his creative short films each with a unique soundtrack.
This sprawling best of list was intended for publication in January 2021 but other priorities got in the way and I had written about many of these in brief in my year end best column for the December 2020 print edition of Birdy magazine in December. Others I wrote up for Birdy throughout the year. All of that text is here hopefully not in a form with my errors edited back in. At any rate it begins with what I’m going to call the album of the year, Type II by UK post-punk experimentalists Sex Swing. It not only stretched post-punk beyond the usual boundaries these days and it articulated the conflict, the outage and confusion of a world coming to terms with the great shortcomings of modern, international capitalism, the inadequacy of the conservative/far right and neoliberal government to address the needs of people across decades and most painfully and poignantly in the moment. That agony and anomie can be heard throughout the album but even separate from that context it’s just a great, experimental rock album. The original verbiage for the Birdy piece reads “An uncomromisingly mind-altering psychedelic noise rock ride through 2020 hell.” With any luck we’ll see the band in North America sooner than later and see for ourselves if the live show delivers. What follows is the rest of the best of list for 2020.
A.M. Pleasure Assassins | Careless Laughter | Self-released This latest EP from Fort Collins-based, math-y post-punk band A.M. Pleasure Assassins sounds like it was written after a long period of contemplation and self-imposed exile from one’s usual social activities. “Said Yer Outta Gas” is imbued with a rush of exuberance reflected in its words about emerging from winter into a period of new beginnings. “Get It Right” finds the band waxing into the warped garage punk territory like something one would expect out of Memphis, Tennessee the past two decades — raw and ragged yet bracing. “Cain Was Killing Abel” strikes a more contemplative tone and the sprawling “Pretty Dead Beat” creates a beautifully hypnotic pulse of sounds with bell tones processed through reverb and distorted drones for an effect like a late 90s Yo La Tengo track. The four songs give the impression of nostalgic reflection, but one where you see and feel deeply the joys and pains of a good time in your life that you are wise enough now to know to enjoy in its full measure rather than through the lens of selective romanticism.
Abrams | Modern Ways | Sailor Records
Adulkt Life | Book of Curses | What’s Your Rupture?
ADULT. | Perception Is/As/Of Deception | Dais Records Darkly urgent industrial dance anthems to purge today’s desperation, confusion and chaos.
Angel Olsen | Whole New Mess | Secretly Group A tender yet bracingly fragile portrait of the realization that you can never adequately prepare for everything life might throw your way.
Anna von Hausswolff | Sacro Bosco | Southern Lord
A Shoreline Dream | Melting | Late Night Weeknight With its first release since 2018’s Waitout EP, A Shoreline Dream presents a set of songs that seems less ethereal than their previous output. From opening track “Turned Too Slow” to closing song “Atheris Hispida” the progressive shoegaze duo has seemingly focused its attention on the texture and physicality of the music. One is tempted to say the guitars are more like hard rock, but only if your idea of hard rock is more in the vein of Swervedriver. But “Downstairs Sundays” has more in common with folk music in its intricate guitar interplay though threading through an uplifting, introspective drone. A Shoreline Dream still gives us its usual transporting melodies, but this time its astral realms are more focused and vivid as though coming out of its musical dreamstate into a phase of making those dreams real.
Autechre | Sign | Warp Records Cleanses the mind with textural tones and hypnotically immersive, abstract rhythms.
Bambara | Stray | Wharf Cat Records
Bestial Mouths | RESURRECTEDINBLACK | RUNE & RUIN
Bison Bone | Find Your Way Out | self-released
Black Wing | No Moon | The Flenser
blackcell | Burn the Ashes | self-released Denver-based EBM/IDM band Blackcell returns with its first full- length album since 2013’s In the Key of Black. Matt Jones’ processed, distorted vocals sound as ever like a dispossessed human resisting an ever increasing mechanization of life. These dark dance songs articulate so well the struggles of the human condition and seem so resonant for today as meaningful choices and control over your own life are leeched away into increasing labor defined by a gig economy, subscription and streaming services in the modern equivalent of pay-per-view, and a failing political and economic system that has channeled all the world’s wealth into fewer and fewer hands, nickeled and dimed to death and expected to take it like it is or not to streamline the technocratic wealth pipeline. Blackcell offers no answers but this time, its Gary Numan-esque end of the world techno feels particularly cathartic right now.
BleakHeart | Dream Griever | Sailor Records
Body Double | Milk Fed | Zum Vignettes of personal psychological horror expressed as seething, angular post-punk pop.
Body Negative | Fragments | Track Number Records
Bootblacks | Thin Skies | Artoffact Records Soaring synths and guitar sketch a vivid image of a deep yearning for personal transcendence and rebirth.
Boris and Merzbow | 2R012P0 | Relapse Records Alien soundscapes of stunning immediacy that challenge preconceptions of all artists involved.
Botanist | Photosynthesis | The Flenser
Cabaret Voltaire | Shadow of Fear | Mute
Camila Fuchs | Kids Talk Sun | Felte Records Avant-garde, psychedelic synth pop for tropical vacations in parallel dimensions.
Causer | Hellebore: Demos | self-released
Chicano Batman | Invisible People | ATO Records Un-ironic, un-corny psych Tropicalia love songs for an inclusive future of unified humanity.
Choir Boy | Gathering Swans | Dais Records Every song is an introspective Goth R&B ode to radical self care.
Church Fire | Some Lonely Wip | self-released This collection of “unfinished/unmixed/unmastered/instrumentals” bridges the gap between Nine Inch Nails and Crystal Castles with their raw, lo-fi, maximalist glitch. Without the highly emotive and cathartic vocals that have been part of Church Fire’s signature sound we are invited to visit the soundscapes that give those vocals a powerful musical context. What is obvious here is the band’s playfulness and gift for pairing dark tonal choices and buoyant rhythms anchored by spare textural elements. On “pixie death tickle” there are wisps of voices but they serve as more a musical aside from the strong, bright, urgent main passages. The “wip” in the title may refer to “works-in-progress” but these songs would work as mood pieces in a soundtrack to the inevitable English language Inio Asano manga film in mirroring that artist’s talent for simultaneously expressing melancholia and joy.
cindygod | EP 2 | Fire Talk
Clipping. | Visions of Bodies Being Burned | Sub Pop Brooding, seething, menacing industrial hip-hop horror stories from an all too near future.
Cyclo Sonic | Pile of Bones EP | self-released
Damn Selene | Nobody By That Name Lives Here Anymore | self-released
Dan Deacon | Mystic Familiar | Domino Records
Dead Voices On Air | Stone Cross Shuttle Worn | self-released
Deafbrick (Deafkids + Pet Brick) | s/t | Rocket Recordings
Death Bells | New Signs Of Life | Dais Records Atmospheric post-punk brimming with an infectious sense of hope after a time of struggle.
Death Valley Girls | Under the Spell of Joy | Suicide Squeeze Acid jazz flavored garage psych with an ear for emotionally rich infinite horizons.
Drew Danburry | Icarus Phoenix A Sides and B Sides 2020 | Telos
Drew McDowell | Angalma | Dais Records
Dyad | Dormant | self-released Charles Ballas and Jeremy Averitt are perhaps better known for their participation in acts like Howling Hex and Esmé Patterson’s live band respectively as well as their production work for Echo Beds. But DORMANT from their long-running collaborative project DYAD showcases their mutual knack for genre-bending IDM-esque soundscapes. DYAD freely blends elements of non-Western polyrhythms, intricate and textured instrumentation, luminous jazz keyboard progressions and tasteful electronic arrangements that convey an eclectic and international flavor. Imagine music equally influenced by Herbie Hancock, 80s Ethiopian synth pop, Daft Punk, Warp Records artists and informed by a deep sense of play, and you will have some idea of the soothing and imagination stirring quality of this music and its brilliantly new age downtempo future jazz sounds.
eHpH | Infrared | self-released This Denver-based electro-industrial duo minces no words on the opening track “Idiot” in its introductory sample “I’m gonna say one thing, fuck Trump.” And then on to choice sampling of 45s words and those of journalists cataloging some of his offenses against humanity. The menacing descending synth bass progression and minimalistic percussion puts the focus on the words. The rest of the album is less explicitly and specifically topical but it is the band’s most fully realized and focused effort yet. The pulsing pace and Fernando Altonaga’s distorted vocals draw you into meditations on the perils of creeping authoritarianism on “Tarnished.” The pastoral pace and deep melancholy of “Forever Haunted” resonates with the artfully despairing tones of the Closer period of Joy Division the way its circular guitar line and synth melody rides a wave of personal revelation and the contemplation of an unrelievedly bleak future. EhpH has long been one of the more interesting modern EBM bands but Infrared demonstrates that the group of Altonaga and Angelo Atencio have fully integrated those roots with a more contemporary post-punk and darkwave sensibility, thus never sounding stuck in the past.
Emerald Siam | Inventions of Ascension | self-released
Emma Ruth Rundle & Thou | May Our Chambers Be Full | Sacred Bones Records
Emmy The Great | April / 月音 | Bella Union
Entrancer | Decline Vol. 4 | Multidim In constructing this latest installment in Entrancer’s Decline series Ryan McRyhew utilized Rob Hordijik’s DIY synth, the Benjolin, as well as the Make Noise Shared System. Though both are modular synthesis devices and visually look complex, McRyhew, in naming the equipment on the Bandcamp page, takes some of the technological mystery out of music making with synths and puts the emphasis on the creativity end. For twenty-seven minutes forty-four seconds of the single track of this album, “Decline XVI,” we travel with McRyhew through the sonic analog of the distorted ebb and flow of civilizational decay that we seem to be experiencing right now. Yet at the heart of the piece we hear a separation of more industrial sounds and those more organic like the inevitability of nature reasserting its primacy in our own consciousnesses and in the entire world.
Equine | Light Wa/orship | Noise Pelican
Eve Maret | Stars Aligned | White Supulchre Records
Eyebeams | It Means Trouble | Hot Congress
Eyedress | Let’s Skip to the Wedding | Lex Records
Eye of Nix | Ligeia | Scry Recordings Uplifting, psychedelic, blackened noise doom journey to a pagan underworld and back.
Facs | Void Moments | Trouble In Mind The post-punk equivalent of crime jazz’s subterranean menace.
Faim | Hollow Hope | Deathwish
Fearing | Shadow | Funeral Party
Fire-Toolz | Rainbow Bridge | Hausu Mountain Records
Flaming Lips | American Head | Warner Records Overflowing with compassion and musical salves for the pain and despair of the fractured American psyche.
French Kettle Station | Spirit Mode | Slagwerk
Future Islands | As Long As You Are | 4AD A soulfully soothing and transporting examination of the roots of one’s melancholic impulses.
Galleries | Resolve | self-released
Ganser | Just Look at That Sky | Felte Records Incandescent yet contemplative post-punk dense with conceptual content and poignant social commentary.
Gold Cage | Social Crutch | Felte Records
Hard to Be a Killer: A Tribute to Ralph Gean In an alternate universe Ralph Gean is a beloved rock and roll hero widely known for his brilliantly unique and off-beat songwriting. But the British Invasion derailed that trajectory and Gean instead has since become a bit of a legendary figure with a cult following in Denver music who has periodically played shows and championed by figures as politically disparate as Boyd Rice (who compiled a collection of Gean’s work in 2007) and Jello Biafra. That fandom is reflected on this sprawling tribute album assembled by Arlo White of Hypnotic Turtle Radio and bands like Deadbubbles and The Buckingham Squares. Every interpretation of Gean’s songs is a worthy listen and a fine showcase for his sheer breadth as an artist. Contributions from local, experimental eccentrics like Little Fyodor & Babushka, Claudzilla and The Babysitters lovingly capture Gean’s essential appeal as an artist with an unvarnished charm and humor. Eric Allen of The Apples in Stereo fame highlights the science fiction cowboy persona that Gean could convey while White’s band Diablo Montalban with the late, great eccentric DJ and Denver cultural figure Frank Bell give “Switzerland” a real dark exotica treatment reminiscent of weirder moments in Tom Waits’ catalog. A fascinating portrait of an important yet often overlooked artist.
H Lite | Green Youth Heattech | self-released Anton Kruger has been known for his inventive, hyperkinetic electronic and experimental music. But for this new EP he took a deep dive into contemplative realms of sound. Elegant, heavenly strings, luminous swells of tone and crystalline percussion embody the title of the song “Light Language.” The spacious sound design aspect of all the song’s on the album are reminiscent of Plaid in the enigmatic playfulness and the stretching consciousness to find inspiration through creative work. Every song brings forth a singular and imaginative portrait of tone, texture and rhythm that takes you on a journey to alien spaces that strike one as familiar and ultimately comforting like a dream. It is post-glitchcore IDM that dispenses with the anxiety in favor of a soothing spirit.
Houses of Heaven | Silent Places | Felte Records Gloomy street tribal dance anthems fortified with dark, minor chord melodies.
Human Impact | s/t | Ipecac Recordings
In The Company Of Serpents | Lux | self-released In the Company of Serpents has long been a band that has aimed to infuse its music with its interest in cinema, esoteric knowledge, literature, and with all of those come out of directi human experience, emotion and an attempt to make sense of life and imbue it with meaning. Lux is the fullest manifestation of those aims written into its most sonically dynamic set of songs to date. The crushing yet fluid heaviness of its sound is paired perfectly with elements of song that wouldn’t sound out of place on a Spaghetti Western soundtrack. “The Fool’s Journey” opens the record as a sort of map for the path set before us ending with the enigmatic “Prima Materia.” It’s a musically diverse and rich album that places In the Company of Serpents apart from a mere doom band and more in the realm of Swans’ and Neurosis’ own heavy explorations of the human psyche.
IDLES | Ultra Mono | Partisan Pointed yet loving politi-punk built on a hip-hop framework.
Insect Ark | The Vanishing | Profound Lore Records A seething and entrancing hybrid of a Junji Ito manga and industrial psychedelic doom.
Jarv Is | Beyond the Pale | Rough Trade Records
jOoHS UhP | Big Glasss | Records This record is so irreverent and self-deprecating it uses the swagger language of much of hip-hop to make statements that are the opposite of anything some other artists would brag about. The irony runs so deep even the elements of the music sounds like swagger. There is a song called “NoWeDon’tWannaMakeGoodMusic.WeTriedAndIt’sBoring.” The glitchy, industrial beats are so unconventional and eccentric you would never confuse this duo with anything resembling traditional hip-hop. It all has more in common with Renaldo & The Loaf and The Residents than even a weirdo like Kanye. Though often confrontational and obnoxious there’s no denying the relentless creativity of the production and glorious seeming lack of regard for how a song is supposed to sound.
Juliet Mission | Surren | self-released Surren is the third EP from Denver-based post-punk band Juliet Mission. As with previous releases the trio’s command of blending layers of atmosphere with strong rhythms and a contemplative melancholy is impressive. The short title track actually has three movements that flow from existential introspection to passages of dark realization to a mood of uneasy acceptance. All four songs in their brooding beauty demonstrate, as have the most recent albums from The Church, that you can write vital and engrossing rock songs from an adult point of view with elegance and grace, and without defaulting to an adolescent, and thus thematically limited, perspective.
Jupiter Sprites| Holographic | Jupiter Sprites Records
Kaitlyn Aurelia Smith | The Mosaic of Transformation | Ghostly International
Killd By | Neotropical (tape reissue) | Noumenal Loom
King Krule | Man Alive! | Matador Like The Fall gone hip-hop chillout lounge post-bad trip horror movie dreaming.
Klara Lewis | Ingrid | Editions Mego Distorted melancholic cello drones like the glitched image memories of past life regression.
KoKo La | Curriculum Vitae | self-released Koko La has long already established herself as an artist of note as one of the MCs and producers in the hip-hop group R A R E B Y R D $. Her soulful voice and presence often draws out subconscious emotions and gives them form in the music and performance. Curriculum Vitae finds Koko La exploring the experiences that have shaped her. Aided by Machete Mouth and Kitty Opinion$ on a couple of tracks, Koko La excels here with shining a light on those experiences that challenge you in various ways, while at the same time, giving you a better sense of self and the boundaries you must draw the border for people who might seek to dismiss you as a human or otherwise put you in your place. The trap beats and hushed atmospheres provide a fascinating listening experience, like you’re honoring the subconscious thoughts and feelings that affect your waking life by giving them an identifiable form that also allows you to comprehend, embrace and reconcile the wounded sides of yourself.
Lazarus Horse | Oh the Guilt! | self-released
Lithics | Tower of Age | Trouble In Mind Surreal, minimalist post-punk funk disintegrating into disorder like American democracy.
Lone Dancer | Temporal Smearing | Multidim
Mamaleek | Come and See | The Flenser
Many Blessings | Emanation Body | Translation Loss Records Ethan McCarthy of Primitive Man renown returns to his ongoing noise soundscapes with the enigmatic and forbidding Many Blessings. In typical fashion this set of five pieces stretches beyond what McCarthy has done with the project in the past. Throughout this album there is not the harsh noise and deconstructed drones of some earlier work. Rather, it is layered collages of sound that give voice to the raw angst and anxieties that sit as a background hum of modern civilization eating away at our collective unconsciousness. The concluding track “Harm Signal” is like a symbol for the whole effort — a flow of sounds, a frequency, that we usually ignore but which causes untold destruction to our existence. These songs identify and give expression to energies and forces we’ve bypassed our whole lives but which are now impossible to ignore, like a sound art metaphor for the social and political forces that have come home to roost of late.
Marissa Nadler | Moons | self-released
Melkbelly | PITH | Carpark Records/Wax Nine
Memory Bell | Solace | self-released
Metz | Atlas Vending | Sub Pop
Midwife | Forever | The Flenser Madeline Johnston wrote Forever during one of the darkest times of the Denver DIY music and art community. Her community was scattered and challenged in the wake of the Ghost Ship fire with so many lives seeming to be on hold with no hint about when thatdespairing period would end. And the 2018 death of Colin Ward hit everyone whose lives he touched so deeply that it seems like the kind of hurt that will never fully heal. Johnston’s almost ghostly, delicate and vulnerable vocals and distorted, ethereal guitar seem to drift together in an effort to make some sense of those feelings with a nuance and sensitivity that always comes across as emerging directly from those places of acute pain and ache and loss, and honoring the need to just feel all of that whenever the need strikes and for however long into your life it lasts even if that is, indeed, forever. An especially touching and evocative tribute to a uniquely restless and creative yet sensitive and emotionally refined person in Colin Ward, Forever is a tender and heartbreaking, healing catharsis in the listen.
Mild Wild | Mild Wild, Vol. 1 | self-released Intensely personal, imaginatively lo-fi aural snapshots of daydreams and poetic observations.
Mint Field | Sentimiento Mundial | Felte Records Dream pop slow burner illuminating and warming the inner regions of the melancholic heart.
Moby | All Visible Objects | Mute Records Retro rave and chillout lounge songs mourning our collective loss, yearning for a hopeful future.
Molchat Doma | Monument | Sacred Bones Records Introspective, elegantly minimalistic, lo-fi, Belarusian gloom pop.
Mong Tong | Mystery | Guruguru Brain
Moodie Black | FUZZ | Fake Four
Moon Pussy | Hurt Wrist | The Ghost Is Clear Records Guitar riffs like swarms of angry insects sweeping through. Syncopated percussion like start- and- stop jackhammers. Bass lines like a half- ton coil being struck and emitting a menacing fluidity. Tortured vocals erupt with Brutalist, post-hardcore poetry. All of this helps to make this latest Moon Pussy record the perfect companion and reaction to a radically uncertain world seemingly in perpetual crisis mode and on the verge of we know not what. Fans of bands on the Amphetamine Reptile imprint or Touch and Go will be thrilled with the band’s seemingly endless supply of inspired, aggressive and savage noise rock riffs and the ability to articulate directly from a place of desperation and outrage. “Fail Better” should be the theme song of these United States.
Mr. Bungle | The Raging Wrath of the Easter Bunny Demo | Ipecac
Mr. Gnome | The Day You Flew Away | El Marko Records
Mrs. Piss | Self-Surgery | Sargent House
Napalm Death | Throes of Joy in the Jaws of Defeatism | Century Media
New Standards Men | I Was A Spaceship | self-released
Night of the Living Shred | Return of the Night of the Living Shred | self-released The name of this album of course invokes the title of the 1985 horror comedy Return of the Living Dead. And the Colorado Springs-based metal group has taken the opportunity to give us an unusual and eclectic record that not only reflects its members’ broad taste in music but a deeply healthy sense of humor about the world and themselves. “Shred Shoppe Quartert” is an a cappella song in the style of a barbershop quartet. There are rap, punks, death metal, doom and grindcore songs. All of it performed with a charming exuberance even though the entire track list reads like something out of a heavy metal version of Mad Magazine. “We Get it, Mike Patton Is a Musical Genius” with screaming like a cover of something by Naked City with lyrics mocking that? That’s genius. Even though the record is largely a put on in one way or another, the fact that it has so much variety makes it eminently listenable.
No Age | Goons Be Gone | Drag City
Of Feather And Bone | Sulfuric Disintegration | Profound Lore Records
Oneohtrix Point Never | Magic Oneohtrix Point Never | Warp Records
Otzi | Storm | Artoffact Records Emotionally intense post-punk at the intersection of Sleater-Kinney and The Cure.
Perry Weissman 3 | Backlog | self-released
Plack Blague | Wear Your Body Out | self-released
Plague Garden | LEFT IN THE GRAVE | self-released
Pod Blotz | Transdimensional System | Dais Records
Pole | Fading | Mute Records
Primitive Man | Immersion | Relapse Records
Princess Dewclaw | Wild Sugar | Glasss Records On the Wild Sugar EP Princess Dewclaw has reinvented itself as a gritty, industrial darkwave band. That element was there on its 2017 album Walk of Shame (in fact the songs “Walk of Shame” and “Into the Words” have carried over in a significantly different form), but there seems more of an edge here. The vocals come more directly from channeling anxiety and pain into catharsis. Rather than acoustic drums the electronic and programmed drums sync more closely with the cutting synth work. The effect is like a caustic and politically charged take on a pop song with mainstream appeal. In that way it has an appeal similar to that of Alice Glass’s emotionally raw solo offerings.
Protomartyr | Ultimate Success Today | Domino Records Burning poems songs evoking a Jim Thompson-esque modern America in slashing/clashing post-punk.
Public Memory | Ripped Apparition | Felte Records If Tarkovksy and Jarmusch could team up to make a cyberpunk movie this would be the soundtrack.
Rafael Anton Irisarri | Peripeteia | Dais Records
Raspberry Bulbs | Before the Age of Mirrors | Relapse Records
Reverb And The Verse | RESONATE | self-released Since 1999 Reverb & The Verse has been developing and writing some of the most imaginative hip-hop out of Denver. The groupput their songwriting on this ninth record through a rigorous process of experimentation and weeding out the material deemed not quite there. Though steeped in classic MC wordplay, the beats and expertly crafted synth work and rhythms seem as informed by the likes of Minneapolis alternative hip-hop that came out of the 90s as it does 80s and 90s synth pop. All of these elements make for a sonically rich and diverse listen a bit like a cross between Clipse and Meat Beat Manifesto.
Riki | s/t | Dais Records Goth synth pop for skate rink parties in abandoned malls.
Run The Jewels | RTJ4 | Jewel Runners
Shabazz Palaces | The Don of Diamond Dreams | Sub Pop
Shitkid | 20/20 | PNKSLM An unlikely and fascinating hybrid of garage rock and soulful synth pop.
Shocker Mom | The Mediocre Depression | self-released
Sightless Pit | Grave of a Dog | Thrill Jockey Sublime and caustic, often claustrophobic, soundscapes of terrifying and transcendent beauty.
SNAD/Jackson Lee| Jargon/Syntax Error 12” EP | Deep Club Records
SPELLS | Stimulants & Sedatives | Snappy Little Numbers This record is raw even by SPELLS standards. But it’s perfect for 11 songs about the messiness of adulthood with lyrics that frankly go for the jugular. This isn’t new for this pop punk band and its anthemic choruses, but it’s always interesting to hear the contrast between the primal pop of the songwriting and incisive portraits of American life that dispense with the soul-destroying niceties. “We Can’t Relate” is a pointed declaration of the disconnect between the culture of the wealthy and the working class. “I’m Sorry I’m Not Sorry” is something of an apology song for being how you have to be in a world that demands essentially unacceptable compromises. Imagine an amalgam of Blatz, Stiff Little Fingers and The Replacements and you have an idea of the sound, the vibe and the sentiments expressed throughout.
Spice | s/t | Dais Records
Sprain | As Lost Through Collision | The Flenser Colossal, sprawling, slowcore deep dives into the catharsis of anxiety and rootlessness.
Spunsugar | Drive-Through Chapel | Adrian Recordings
Squarepusher | Be Up a Hello | Warner Records
Stay Tuned | Remote Control | self-released Brilliantly sampling from American media and entertainment culture, both musically and thematically, Stay Tuned has produced not just a signature song with this arc of eleven tracks but a signature album. Dense with content each song uses the format of autobiography to comment on aspects of society like the shallowness of celebrity culture and the way we formulate our dreams and aspirations in terms and frameworks taken from preexisting constructs like television shows, movies, video games and other media — of course expressed through the corporate controlled channels we most often use to communicate with one another. But in free associating musical and other media references in a collage of sounds in the beat, Stay Tuned uses media tropes and collective myths and imagery to showcase how we can subvert the prevailing power relationships and the monopolistic paradigms of our time.
Stephen Malkmus | Traditional Techniques | Matador
Studded Left | Sidewalk Vitamins | Girlgang Music
Stūrī Zēvele | Labvakar | self-released An endearing indie pop manifestation of the essence of close and warm friendships.
Sumac | May You Be Held | Thrill Jockey
Suo and Data Rainbow | s/t | Multidim
SUUNS | FICTION EP | Joyful Noise
Syko Friend | Fontanelle | Post Present Medium
The Drood | Totally Comfortable | self-released
The High Water Marks | Ecstasy Rhymes | Minty Fresh
The Microphones | The Microphones In 2020 | P.W. Elverum & Sun
The Paranoyds | Pet Cemetery EP | Suicide Squeeze
The White Swan | Nocturnal Transmission | CockThermos
Through Flames | Through Flames | self-released Riveting, radical experiments in political poetry and sound design.
TI-83 | Demo | self-released
Time | These Songs Kill Fascists | Dirty Laboratory Hip-hop artist Chris “Time” Steele displays a true gift for fusing autobiography and lived experience with historical context and knowledge of political theory on this album. He’s always been a brilliant lyricist whose expert wordplay has seemingly effortlessly combined his sharp sense of humor with a wide ranging curiosity about the world and a growing body of knowledge of history, culture and politics. On These Songs Kill Fascists, Steele works with Daiba, Mick Jenkins, long time producer AwareNess, Giuseppe, Ron Miles, JXSHYB, Cat Soup and Psalm One to create a jazz-inflected story cycle commenting astutely on social issues now getting some focus. While a riveting listen purely as a well crafted album, These Songs Kill Fascists does not function as merely socially conscious entertainment, it seems to have been crafted as a form of praxis that challenges artist and listener in a dialectic of critical pedagogy that mutually encourages ongoing personal growth and social transformation.
Tobacco | Hot, Wet & Sassy | Ghostly International Bright, bombastic, noisy synths paired with darkly humorous musings disrupt the album’s aesthetic of nostalgic comfort sounds.
Torres | Silver Tongue | Merge Records
Uniform | Shame | Sacred Bones Records Scorching and thrillingly diverse industrial hardcore inspired by noir literature.
Usaisamonster | Amikwag | Yeggs Records
Vivian | The Warped Glimmer | self-released
Voight | s/t | self-released Maybe it’s Chase Dobson’s treatments and mixing and mastering after Adam Rojo and Nick Salmon wrote and recorded this album, but the self-titled Voight album is the closest the duo has come to sounding like it’s blurring the line between its rock and electronic aesthetics. Guitar chords burn and shimmer out, percussion flurries and traces out a minimalist beat and Salmon’s vocals float through the songs like a person who was once lost but is now rediscovering his ability to feel and to express those emotions with a coherent self-awareness. Every song has an expansive quality reminiscent of Clan of Xymox and The Twilight Sad. The tone of the album perfectly walks the line between urgency and introspection without ever compromising an underlying delicacy of spirit and emotional refinement.
Wayfarer | A Romance With Violence | Profound Lore Records
Wetware | Flail | Dais Recordings
White Rose Motor Oil | You Can’t Kill Ghosts | self-released
Windy & Carl | Allegiance and Conviction | Kranky
WL | ADHD | Beacon Sound
Wolf Parade | Thin Mind | Sub Pop
Yves Tumor | Heaven To A Tortured Mind | Warp Records Futuristic, effervescent, downtempo, synth pop-inflected, R&B informed non-binary funk.
What:The Legendary Pink Dots w/Orbit Service, The Drood, DJ Mudwulf and VJ Dizy Pixl When: Thursday, 10.31, 8:30 p.m. Where: Ophelia’s Electric Soap Box Why: The Legendary Pink Dots and its mystical, spectral, ambient psychedelia will turn 40 next August and is currently undertaking a tour celebrating the landmark date along with its new album, 2019’s Angel in the Detail. The new record contains elements of what has always made LPD great including entrancing atmospheres, singer Edward Ka-Spel’s poetic lyrics that articulate deep truths about the human condition and how it manifests in our lives and civilizations. It also comments on the perilous state of things in the world today and especially in “The Junkyard” and how the elites are trying to finish completing a world system that renders those of us not in that upper one percent of one percent as pieces of junk in world civilization. The surreal and beautifully disturbing music video is well worth a view. Also sharing the bill tonight is the likeminded Denver-based ambient psychedelic rock band Orbit Service which has been gracing local stages and well beyond since the mid-90s. The Drood, also from Denver, is like a dark psychedelic prog band with punk-intensity and a sense of theater and the ability to create exorcistic emotional experiences in song. DJ Mudwulf will set the mood with what is sure to be a great set for the holiday and VJ Dizy Pixl will set the visual mood as per her usual level of excellence.
What:Bethlehem Steel w/Gila Teen and guest When: Friday, 11.1, 9 p.m. Where: Lion’s Lair Why: Bethlehem Steel has been together since 2012 but started garnering national attention for its outstanding performances at the South By Southwest festival in 2016. At that time the group had out a couple of EPs but released its debut full length Party Naked Forever in 2017. Its thrilling collision of fuzzy pop and dynamic atmospheric rock has drawn comparisons to 90s noise pop acts like Weezer and contemporary artists like Courtney Barnett and Waxahatchee. But often enough the group’s expansive, imaginative songwriting and creative ambition has resulted in some music that pushes boundaries of the loud and quiet format that many bands have adopted of late so that its songs will remind some of the emotionally stirring music of older bands like Failure, Slint and Rainer Maria. It has that kind of fire and caustic sound as well as lyrics that delve deep into the darker regions of the psyche with a defiant spirit lighting the way. In September, Bethlehem Steel released its fantastic self-titled full-length for which it is touring in support. Also on the bill is Gila Teen, the experimental post-punk band that brilliantly mixes moody atmospheres with a splintery pop punk.
What:Yung Bae w/Birocratic and Jaguar Nights When: Friday, 11.1, 8 p.m. Where: Marquis Theater Why: Dallas Cotton started making music as Yung Bae while living in Portland, Oregon but his production-based future funk started garnering him wider audiences while still a student at Oregon State University. His sound straddles that sort of 70s soul and R&B-inspired sounds and the aesthetic of modern electronic pop music. So while he references classic music it comes off with a more modern sensibility and energy. It hearkens to a previous era and the unsullied excitement of that music but in a way that couldn’t really have been accomplished at the time in terms of how he sculpts sound and edits it together. In 2019 Yung Bae released his fifth album in as many years with Bae 5.
What:Dia De Muertos celebration: Altas, Plume Varia and Los Mocochetes When: Saturday, 11.2, 8 p.m. Where: Hi-Dive Why: Denver instrumental rock band Altas is doing its now annual Dia De Muertos show in which the members will dress in the appropriate regalia for the occasion making the show a true event rather than just another gig. The group’s sweeping, cinematic grandeur and fiery musical pyrotechnics and mastery of mood and atmosphere is worth witnessing alone but also on the bill is psychedelic rock band Los Mocochetes and downtempo dream pop band Plume Varia and its emotionally rich and haunted compositions.
What:The Locust w/Disposal Notice and Its Just Bugs When: Saturday, 11.2, 8 p.m. Where: Summit Music Hall Why: The Locust recently reconvened to bring its mutant, death metal inflected, noisy hardcore on a national tour. The group’s surreal imagery and costumes along with its equally bizarre lyrics has made it difficult to lump in with any convenient musical movement. Its Just Bugs (the apostrophe is left off) is an industrial punk hip-hop group from Colorado and just as impossible to pigeonhole.
What:Twin Peaks w/Post Animal and Ohmme When: Saturday, 11.2, 8 p.m. Where: Gothic Theatre Why: Twin Peaks from Chicago weathered the mid-2010s blowout of garage rock and neo-psychedelic rock that was making the underground rock scene of a certain stripe become fairly stale and performatively exciting. What helped was that Twin Peaks was writing good songs and hasn’t stayed stuck in the same sound for its entire career thus far. Its 2019 album Lookout Low sounds like an odd and interesting hybrid of power pop and the weirdo punk of The Fall at its most Lou Reed-inspired, mix in some unusual flourishes of 70s rock with nods to Peter Frampton and Thin Lizzy. All while delivering spirited and sometimes gloriously ragged performances which are much needed at a time when a sanitary quality has permeated too much modern music.
What:Vivan Girls w/Down Time, Short Shorts and Backseat Vinyl — CANCELLED When: Sunday, 11.3, 7 p.m. Where: Marquis Theater Why: Vivian Girls caused a stir in the indie underground of the 2000s and 2010s with their lo-fi, noisy pop songs. The group’s ability to mix buoyant dynamics with dark, brooding moods and sounds was a fascinating contrast. The band split in 2014 with members going on to perform in La Sera, The Babies and Upset (all still going concerns). But in summer 2019 the group announced it was reforming with a new record, Memory, on the way and released in September.
What:TR/ST w/SRSQ and DJ Slave 1 When: Sunday, 11.3, 7 p.m. Where: Summit Music Hall Why: TR/ST came to prominence as the new darkwave movement was coming together with a sound that seemed to come out of the then renewed interest in vintage synths, that cold, bright, moody sound of Goth-y 80s synth pop and its cousin chillwave. But Robert Alfons’ vibrant, soulful voice and imaginative soundsccaping are the key ingredients that elevated this project above many of its contemporaries. In 2019 TR/ST released The Destroyer (Part 1 and 2), a more experimental and ambient, ethereal set of songs than his previous offerings and a clear product of reassessing directions and ideas to produce something different. SRSQ (pronounced Seer Ess Que as in the lettes for the latter two) is Kennedy Ashlyn the charismatic singer formerly of brilliant dream pop band Them Are Us Too. Her 2018 album Unreality is a moody and emotionally harrowing and cathartic downtempo album that seems to have absorbed the darkness and pain of the underground world in the wake of the Ghost Ship fire and given it a voice that exorcises some of that energy.
What:Keytar Fest IV: The Jinjas, R A R E B Y R D $ and Claudzilla When: Sunday, 11.3, 4 p.m. Where: Glitter City Why: Just like the title of the event suggests, this is a mini festival featuring all projects that incorporate keytars as an essential part of the songwriting and this includes weirdo synth punk Claudzilla and experimental hip-hop/IDM-inflected trio R A R E B Y R D $.
What:Danny Brown w/Ashnikko and Zeeloperz When: Sunday, 11.3, 7 p.m. Where: Cervantes’ Masterpiece Ballroom Why: Ever since the larger world outside of Detroit started cluing into Danny Brown’s genius following the release of 2010’s The Hybrid, the rapper has garnered a large cult following for his eccentric yet sharply cogent and thoughtful yet raw lyrics and production that incorporates a wide range of sounds that one hadn’t often heard in hip-hop outside of the underground and alternative circles of the 90s and early 2000s. Brown picked up where that left off and pushed things further particularly on his 2016 album Atrocity Exhibition which borrowed its title from a science fiction novel by J.G. Ballard and whose beats sounded almost like a new hybrid of industrial and rap that reflected the atmospherics as much as the textures and rhythms. With his new album, 2019’s uknowhatimsayin¿ Brown follows a similar sonic path but brings together more organic, almost found sounds with processed layers of atmosphere. Intact is his gift for surreal imagery and wordplay that gets under your skin.
Monday | November 4
What:GRÜN WASSER w/Natural Violence, French Kettle Station and Night Shift DJs When: Monday, 11.4, 9 p.m. Where: Rhinoceropolis Why: GRÜN WASSER is a Chicago-based electro-pop/industrial whose pulsing rhythms and dreamlike moods sound like endless nights wandering a menacing urban landscape and commenting on the culture of the nightlife. That is if the group’s new album Not OK with Things (Holodeck Records) is any indication. There is an almost claustrophobic quality to its densely atmospheric beats contrasted with Keely Dowd’s lightly echoing, ethereal vocals. French Kettle Station has been through more permutations of his sound than many artists bother to explore but of late he’s been developing a sound that’s still rooted slightly in 1980s No Wave disco and modern glitch dance pop but also influenced by 1980s adult contemporary music and its unexpectedly newly influential use and voicing of drums and vintage synths in a way that in any other contexts would be utterly wack but takes on an almost spiritual cast in certain underground electronic artists including that side of what FKS has been up to in the past year or two. His latest album, Over X Millenia takes those ideas and injects them with non-western rhythmic ideas and a New Age music aesthetic for something new yet strangely familiar. Its closest cousin that comes readily to mind is Brian Eno and David Byrne’s 1981 classic My Life in the Bush of Ghosts.
Tuesday | November 5
What:HTRK w/Midwife, Echo Beds, Human Tide When: Tuesday, 11.5, 8 p.m. Where: Rhinoceropolis Why: Since 2003 HTRK, originally from Australia, has been making music inspired by the brooding, otherworldly atmosphere of the films of David Lynch. Though the name of the band is pronounced “Hate Rock” it’s not so much rock except in the experimental sense as much as downtempo and ambient soundscaping. In 2010 founding musician Sean Stewart passed away leaving Nigel Yang and Jonnine Standish to carry on and as a duo HTRK has released a handful of some of the most fascinating music mixing electric music with an electronic aesthetic being made today. The group’s latest album is Venus in Leo with its exquisitely subtle dynamics and cinematic approach to its composition and sound design with lingering, impressionistic guitar riffs drifting around Standish’s hushed and soulful vocals.
What:Kikagaku Moyo w/Minamu Deutsch When: Tuesday, 11.5, 7 p.m. Where: Gothic Theatre Why: Kikagaku Moyo from Japan is a true synthesis of 70s Krautrock, classic Japanese psychedelic rock and more traditional Japanese folk. Currently the group is touring with the like-minded Tokyo band Minami Deutsch. The group’s urgent rhythms, mesmerizing drones and hypnotic dynamics sound like what it is to travel through Tokyo and its subtle but odd mixture of old world and high tech metropolis side by side in all of the city’s giant districts. On the group’s new EP, Can’t Get There that dynamic often takes you to a place of anxiety and then release as it draws you into its irresistible groove.
What:Jeffrey Lewis & The Voltage w/Adam Baumeister When: Tuesday, 11.5, 7 p.m. Where: Hi-Dive Why: A rare chance to see eccentric, genius freak folk and comic artist legend Jeffrey Lewis and his band along with local star of experimental folk and psychedelia, Adam Baumeister, head of Meep Records and former member of Navy Girls and Bad Weather California.
What:Negative Approach w/Blood Loss and Tuck Knee When: Wednesday, 11.6, 7 p.m. Where: Lost Lake Why: Negative Approach from Detroit was one of the bands out of that early wave of American hardcore than seemed particularly seething and intense and fronted by John Brannon who went on to noisy psychedelic blues band Laughing Hyenas and Easy Action. Easily one of the greatest frontmen of rock music because he seems to actually be losing his mind swept up in the moment.
What:Weird Wednesday: FangFuck, Zealot and Bolonium When: Wednesday, 11.6, 9 p.m. Where: Bowman’s Vinyl & Lounge Why: Weird Wednesday includes left field indie rock local supergroup Zealot and Bolonium a band inspired by Devo and which comes off like an odd combination of band, cheesy game show and Troma film.
What:Kurt Vile and the Violators w/Dinosaur Jr When: Wednesday, 11.6, 7 p.m. Where: The Mission Ballroom Why: Dinosaur Jr is the missing link between gritty classic rock like Neil Young, hardcore and 90s alternative rock and more influential on modern music than is often obvious. The mixture of sheer volume with tunefulness reconciled eras of music in a way that is often taken for granted and which bands like Nirvana and other massively commercial successful bands took to topple the music industry marketing machine and culture. Apparently modern folk/psychedelic artist Kurt Vile has felt this influence and thus has Dinosaur on this tour and for its part, the members of Dinosaur Jr have continued to release music, some of the best of its career in the past decade.
Who:The Drood, Church Fire, blackcell, Mudwulf and dizypixl When: Thursday, 03.14, 8 p.m. Where: Ophelia’s Electric Soapbox Why: The Drood could be described as a horror ambient band with a penchant for subverting the dark music paradigm with wry humor and deeply imaginative reworking of tropes into new shapes. It’s what gives the band a kind of timeless and otherworldly quality even as it uses familiar sounds and moods to weave its unusual narratives. Church Fire similarly uses the vocabulary of dance and industrial music to enter mythic psychological spaces to comment on culture and political issues without boring us with didactic and topical platitudes. Blackcell is the longest running industrial/EBM band in Denver but one that has evolved so much since its early days as essentially and industrial noise act into one of the great the abstract/ambient dance/darkwave bands today. Mudwulf will bring an unpredictable collection of underground electronic music to DJ and Dizypixl, known for her work with Skinny Puppy, will provide brain-stirring visuals.
Who:Ian Svenonius’ Escape-ism with his “FoundSoundDreamDrama” When: Thursday, 03.14, 9 p.m. Where: Lane Meyer Products Why: Even though The Lost Record, the debut from Escape-ism, the latest project from Ian Svenonius, the frontman of The Nation of Ulysses, The Make-Up, Weird War and other noteworthy musical entities over the years. Musically it sounds like lo-fi electroclash (or an even more lo-fi take on that musical movement). But that jibes with what is obviously a concept with music videos that look like its borrowing the aesthetics of an un-cool era, particularly the Super-8 vibe of the video for “Nothing Personal,” to pull listeners, and presumably those attending the show, out of everyday consciousness. Across his career as a musician, Svenonius and his partners have attempted to make music to engage both body and mind whereas much of modern culture and entertainment seems aimed at atomizing us as people from each other but also within ourselves. That the show is booked at something outside the usual purview of a bar or conventional venue should be telling as well regarding the aims of the performance.
Friday | March 15
Who:Adia Victoria wNina and the Hold Tight and Brother Sister Hex When: Friday, 03.15, 7:30 p.m. Where: Larimer Lounge Why: Adia Victoria’s 2016 album Beyond the Bloodhounds introduced the world to the songwriter’s brooding, expressive, bluesy songwriting. Her 2019 album Silences finds Victoria expanding her sound, now operating in a realm somewhere between Rubblebucket’s soulful pop and Nick Cave’s smoldering intensity.
What:LEAF Night 1: Performances When: Friday, 03.15, 7 p.m. Where: Colorado Music Festival & Center for Musical Arts Why: This year’s edition of the Lafayette Electronic Arts Festival kicks off with a bevy of visionary avant-garde electronic music. This year’s programme of performances will inclue: Derek Holzer – Vector Synthesis AV Performance, Janet Feder and Joshua Ott – Prepared Guitar & Electronic Image, L’Astra Cosmo – AudioVisual Vector Synthesis, Sean Winters & Angie Eng – Piano and Electronic Image. In the cozy yet spacious performance space that is the Colorado Music Festival & Center for Musical Arts, these performances showcase some of the new ways in which creative people are integrating technology in both the musical and visual realm with concepts driving their application. Curated by David Fodel, LEAF strives to bring unique experiences that connect cutting edge artists with audiences/participants open to experiencing something you’re not likely to at a conventional music venue of any kind or all that much in academia either. Heady stuff.
What: Meet the Giant, Dead Orchids and Altas facebook.com/events/326517057982697 When: Friday, 03.15, 8 p.m. Where: BarFly Why: A free show and a bill that includes some of the best bands in Denver. Meet the Giant is an emotionally charged dream pop/rock band who are playing music with atmosphere and delicacy and nuance but delivered like its three members spent a youth in punk. Dead Orchids is a beautifully gloomy, bluesy, experimental rock project. Altas may be collectively the funniest band in Denver but the electrifying grandeur of its visceral instrumental rock lacks not for serious explorations of inner space.
Saturday | March 16
What:LEAF Night 2: artistTalks When: Saturday, 03.16, 7 p.m. Where: Colorado Music Festival & Center for Musical Arts Why: This second night of the Lafayette Electronic Arts Festival includes the presentations/artistTalks, rather than performance, component of the event with a programme as follows: Derek Holzer – A Media Archaeology Of Vector Graphics, Jason and Deborah Benagozzi – What IS Signal Culture? The Signal IN the Culture, libi rose striegl – Digging In: A hands-on Guide to Media Archaeology, Janet Feder – Trip Sitting: A guided journey along the timeline of psychedelia.
What:Lipgloss pressents: Alice Glass DJ set w/Boyhollow When: Saturday, 03.16, 9 p.m. Where: Ophelia’s Electric Soapbox Why: Alice Glass’s musical output since her departure from Crystal Castles in 2014 has been a showcase for a gift for poignant expressions of agonizing emotional turmoil and strength in the face of being torn up from the inside out.
What:Johnlukeirl fka DJ Clap, Techno Allah, Kid Mask, DJ JFK, Timelord SFX, Blank Human and Wayzout When: Saturday, 03.16, 8 p.m. Where: Thought//Forms Gallery Why: A night of music where ambient, experimental dance and noise meet. A bit more on the bright tones and compositions bordering on an updated version of chillwave on the beats with Johnlukeirl and downtempo ambient noise and glitchcore with Kid Mask along with analog-synth driven ambient with Blank Human so definitely not all of a piece.
Sunday | March 17
What:Sliver, Motherhood (CAN), Weep Wave (Seattle) and Thatcher When: Sunday, 03.17, 8:30 p.m. Where: Lion’s Lair Why: This’ll be an eclectic bill with Sliver’s post-grunge bursts of arresting emotional intensity, Weep Wave’s lo-fi psychedelia akin to the likes of Caustic Resin and some of the weirder bands on the Siltbreeze imprint, Motherhood’s math-y art punk rendering of high concept pop songs (see our interview with the band here) and Thatcher’s Velocity Girl-esque shimmery melodies.
Monday | March 18
What:Vince Staples w/JPEGMAFIA and Trill Sammy When: Monday, 03.18, 7 p.m. Where: Ogden Theatre Why: Vince Staples and JPEGMAFIA are two of the most incisive critics of modern culture and the music industry. With a massive knowledge of music far beyond hip-hop both artists have some of the most sonically interesting beats going.
What:Endless, Nameless, Balms, Wander, YUFI64, Old Soul Dies Young When: Monday, 03.18, 8 p.m. Where: Seventh Circle Music Collective Why: Denver-based, introspective math rock band Endless, Nameless celebrates its return from its most recent tour this night. Also on the bill is Balms from San Francisco whose fuzz-tinged shoegaze sounds like the melodic analog of waves crashing against jagged rocks. Fans of Ceremony’s most recent music or True Widow will find much to like about Balms. Its debut full-length Mirrors was released in February 2019. Wander is a post-rock band from the Bay Area (San Leandro) whose own dynamic buildups are reminiscent of the subtle yet irresistible flow of ocean tides and coastal breezes.
What:Blood Incantation, Of Feather and Bone, Black Curse, Prison Glue and Many Blessings When: Monday, 03.18, 7 p.m. Where: Syntax Physic Opera Why: Blood Incantation is a band that sounds like its members are having fun with the sonically absurd possibilities inherent to an over-the-top-yet-technically-challenging genre like death metal. The result is one of the most unusual and powerful live bands you’re likely to see in the realm of metal or anything else. But the band and everyone else on this bill is coming together for a fundraiser for James Trejo of Cadaver Dog and various other projects who was assaulted on tour resulting in a broken orbital floor in his face. Some people’s children.
Tuesday | March 19
What:The Black Queen w/Uniform and SRSQ When: Tuesday, 03.19, 7 p.m.
Where: The Marquis Theater
Why: The Black Queen is a darkwave band from Los Angeles comprised of former members/associates of The Dillinger Escape Plan and Nine Inch Nails (including Joshua Eustis who also writes and performs music as Telefon Tel Aviv). Its sound combines ethereal dream pop guitar sounds with the sort of soulfulness found in a lot of 80s synth pop. But with a more modern take as though vocalist Greg Puciato wasn’t just familiar with Talk Talk and Heaven 17 but Perfume Genius and Big Black Delta. In 2018 the group released its second album Infinite Games the day it played the prestigious Cold Waves festival (the Los Angeles edition). But this bill isn’t short on noteworthy artists out of the new industrial and darkwave era. Uniform’s confrontational and political minimal synth and industrial assault is along for this show as well as SRSQ (pronounced seer-skew), the now project from Kennedy Ashlyn, the vocalist and keyboard player of Them Are Us Too. The new music is ethereal with emotionally arresting vocals as one might expect but also with more a downtempo, yet majestic, after-hours dance club vibe. The SRSQ album, Unreality, came out on Dais Records in 2018.
What:Mike Krol w/Vertical Scratchers and Slugger When: Tuesday, 03.19, 7 p.m. Where: Globe Hall Why: Mike Krol did it right. Emerged during the wave of the recent garage rock/psychedelic rock revival of the 2010s where his fuzz-drenched, wiry melodies fit in with the biggest movement in underground rock in years. Then came out the other end of the wave with his knack for snappy, wiry melodies and charmingly lo-fi production intact. Sure maybe you can hear the touches of Jay Reatard and the Oblivians in the music but Krol’s own spiky highlights and tonal gyrations are his own and his 2019 album out on Merge Records, Power Chords, showcases all of that as well as the songwriter’s keen psychological insight and gift for poetic turns of phrase. What:Remain and Sustain, Meth., Motherhood, Its Just Bugs and Non Systemaddict When: Tuesday, 03.19, 7 p.m. Where: Seventh Circle Music Collective Why: Seventh Circle gets plenty of experimental music through the door but this night is one that’ll be fairly mixed. Meth. is a Chicago-based noisecore band that mixes some genuine soundscaping into its set. Its Just Bugs is a confrontational hip-hop band from Colorado that often uses industrial beats and noise. Motherhood is a trio from Fredericton, New Brunswick that combines high concept songwriting with playfully intricate art rock. Remain and Sustain is a sort of deathgrind/hardcore band from Denver. To name a few.
Wednesday | March 20
What:Metric & Zoé w/July Talk When: Wednesday, 03.20, 6:30 p.m. Where: The Fillmore Auditorium Why: Metric’s latest album, 2018’s Art of Doubt, crafts a complex narrative commentary on the factious times in which we live. Rather than something so heavy-handed and topical., the lyrics explore the psychological and existential gyrations that seem to have been reflected on the backdrop of a time of great peril, tension, hope and a desire for relief knowing that tough decisions can no longer be put off as we sit on the brink of climate disaster and extinction. That, in fact, an overwhelming sense of doubt blooms from everyone’s psyche inspiring extremes of feeling and the expression thereof. Across the album the band channels those feelings and rides out the eddies of the flow of feeling and the maddening peaks of heightened emotion. In the live setting Metric manifests its colorful and passionate songwriting in a cathartic and captivating manner so this might be a tour to catch.
Who:Starjammer – Empire of the Mantis When: Thursday, 01.31, 8 p.m. Where: 3 Kings Tavern Why: Squidds Madden brings his visionary multi-media, multi-instrumental one-man band to 3 Kings to demonstrate that “Avant Garde/Dub-Reggae” is not some kooky gimmick but an evolving futuristic music that is truly a synthesis of deeply experimental improvisational music and the production style that enhances a broad spectrum of sonic frequency, textures and rhythm.
Who:Endless, Nameless, Honey and Salt, Obtuse, Admiral and more When: Thursday, 01.31, 7 p.m. Where: Seventh Circle Music Collective Why: Kind of a math rock show with Obtuse who certainly draw on 90s and 2000s math rock for some of the inspiration but is thankfully more focused on the emotional possibilities when you don’t get tripped up on the time signatures and precision but use those as needed to express the raw nerves of a generation that late capitalism is trying to toss in the dumpster but not without some very articulate resistance.
Friday | February 1, 2019
Who:Maemyth, Galleries, Bert Olsen and matherial When: Friday, 02.01, 9 p.m. Where: 3 Kings Tavern Why: All the other bands on the bill are worth your time. But Bert Olsen, not named after anyone in the band, makes the kind of punk that is atmospheric, probably inspired in part by The Cure and early Christian Death, noisy and vividly emotional and not trapped by the need to sound like another era of punk. Bert Olsen is charting its own path and Hunter Wood’s vocals are both melodic and demonstrating a willingness to crack and distort to fit the mood of the moment. More rock music in general would benefit from such instincts but a lot of it is self-tamed and conditioned, traditionalist stuff.
Who:Broncho w/Pinky Pinky When: Friday, 02.01, 8 p.m. Where: Globe Hall Why: Too many artists and “comedians” have ruined irony for probably another generation by abusing its possibilities and basically by not being ironic, just wannabe surrealistic and too much of a broken person’s public diary presented as entertainment. Broncho didn’t fail in its employment of irony by making sardonic yet sincere commentary on American culture and life. When singer/guitarist Ryan Lindsey was in The Starlight Mints he injected some color into the tail end of the wave of indiepop that emerged in the early 90s. With Broncho it’s more rock but out of step with the tendency of a lot of modern rock music to be trapped entirely too much in past decades. The band’s latest record is 2018’s Bad Behavior.
Who:King Eddie, Briffaut and BabyBaby When: Friday, 02.01, 8 p.m. Where: Syntax Physic Opera Why: King Eddie began as something of a fairly predictable psychedelic rock band but by that time and the release of its 2017 album it completely refined and reinvented itself into one of the most interesting and creative bands in that realm of music. Briffaut is sort of freak folk, psychedelic indie rock but sounds like it was made by people who cut themselves off from outside influences for half a decade or more. Because of that, it’s music is always interesting and left-field.
Who:Dry Ice, Slugger, Satellite Pilot, Rose Variety and Ludoesmusic When: Friday, 02.01, 8 p.m. Where: Lost Lake Why: Apparently Dry Ice is from Highlands Ranch, Colorado. If it’s album 2018 Technicolor Yawning is any indication it sounds like the product of suburban boredom and thus this far into the band’s career means it’s sort of all over the place style-wise but that also means its not locked into being a particular genre and its eclectic quality yields some interesting material that might not have been possible had its members been channeled into a particular local scene. Slugger makes a case for garage and psychedelic rock inspired by classic rock not being totally played out.
Who:Boldtype, The Gamits, Reno Divorce and No Bueno When: Friday, 02.01, 7 p.m. Where: The Marquis Theater Why: Manuel Lopez was the passionate and affable drummer of Boldtype who recently passed away. This is a benefit show for his daughters and will include performances by his band as well as some of the best local punk rock bands that came up at the same time his group was coming into its own.
Saturday | February 2, 2019
Who:The Parrots + Mozes and The Firstborn, Billy Changer, Super Bummer When: Saturday, 02.02, 8 p.m. Where: Larimer Lounge Why: Mozes and The Firstborn from Eindhoven, The Netherlands came up during the peak of the 2010’s garage rock revival and toured internationally relatively early on its career. The band was always a little different from the other garage rock bands of that period because its sound was closer to power pop and its musicianship and songwriting had some uncommon refinement. In 2019 the group released its latest record Dadcore. To be fair, the band doesn’t sound like dadcore so much as its the typically Dutch dry, self-effacing and layered commentary on the cultural phenomenon and its own hearkening back to classic songwriting and what some may see as the quaint notion of guitar rock in the twenty-first century.
Who:The Pamlico Sound, Queens of the Galaxy and The Jessicas When: Saturday, 02.02, 8 p.m. Where: Lost Lake Why: The Pamlico Sound is a funk band lead by Will Baumgartner who went to Woodstock as a kid and who has been involved in the 80s No Wave movement as well as some of the more unexpectedly inventive and imaginative jam and funk bands from Colorado over the past two decades. It’s a spectacle and highly entertaining as Baumgartner is an engaging and unconventionally charismatic performer.
Monday | February 4, 2019
Who:Ron Gallo w/Post Animal and Stuyedeyed When: Monday, 02.04, 7 p.m. Where: Globe Hall Why: Ron Gallo is from Philadelphia but his solo work sounds like he spent some time in 1970s New York in the early punk scene with a wiry energy. Of course if psychedelic garage rock hadn’t happened his 2018 record Stardust Birthday Party wouldn’t have sounded like a bit like a manic Sparks. Whatever the touchstones might be, Gallo is one of the most dynamic rock musicians of the current era. Perhaps co-headlining is the psychedelic prog band Post Animal whose own spirited performances transcend any specific genre of music.
Who:Yoke Lore w/LP When: Tuesday, 02.05, 7 p.m. Where: The Ogden Theatre Why: Adrian Galvin was once a member of synth-heavy indie pop band Walk the Moon before going solo a few years back. His work under the name Yoke Lore is decidedly different from Walk the Moon in having softer edges while showcasing Galvin’s inventive use of layered sound in his songwriting with bright synths accenting his vocals with an evocative flair. He is currently touring in the wake of the release of his 2018 EP Goodpain as an opener for R&B-inflected indie pop songwriter LP.
Wednesday | February 6, 2019
Who:Weird Wednesday: The Diablo Montalban Experience, The Drood and Claudzilla When: Wednesday, 02.06, 9 p.m. Where: The Ogden Theatre Why: Weird Wednesday is as suggested by the name quite a bit this time around with keytar rock sorceress Claudzilla, experimental pop/psych band The Diablo Montalban Experience and The Drood. The latter often performs in costumes that look like a cross between anti-hero crusaders for cosmic justice and occult ritualists with music that fans of Legendary Pink Dots may find very much to their liking.
Who:P.O.S. w/Calm. and DJ Fundo When: Wednesday, 02.06, 7 p.m. Where: The Marquis Theater Why: P.O.S. is the Minneapolis-based rapper whose talents and range as an artist go far beyond including his masterful production on his own work as well as his musicianship in other bands including Gayngs, Marijuana Deathsquads and many others. He’s in good company with his sonically adventurous beats paired with Denver’s Calm., a duo comprised of Time and Awareness whose literate and incisive raps and deeply atmospheric production is always surprisingly impactful. Their latest release, 2018’s Things I Learned While Dying in Denver is one of the most sharply critical yet hopefully albums of the past few years.
Who:Glasss Presents The Speakeasy Series Season 2: Left Handed Electronics, Grrrl, Bianca Mikahn When: Thursday, 05.24, 7 p.m. Where: Hooked On Colfax Why: Bianca Mikahn’s combination of almost free verse poetry and beats should be well within the canon of hip-hop and ultimately is. But her delivery and her crafting of her songs has as much in common with the kind of hippie-ish, open mic, slam poetry world as it does with any hip-hop context. Mikahn’s ability to critique society at large while speaking to those issues with a compassion and positive spirit minus any note of insincerity sets her apart from most other artists. That her beats contains elements of noise and melodic ambient music makes her immediately accessible music an otherworldly dimension even as the songs are grounded in fairly earthbound experiences.
Who:High Plains Honky 7” release w/Casey James Prestwood and the Burning Angels Band and Danny Dodge & The Dodge Gang When: Thursday, 05.24, 8 p.m. Where: Hi-Dive Why: If Ronnie Milsap had gone a little more honky tonk with a grittier voice, the results might sound a bit like High Plains Honky. The group is releasing its latest seven inch record tonight at the Hi-Dive joined by a couple of other bands who are no slouches in the local country scene. Maybe comparing a Denver band to a best selling artist like Milsap seems like a bit much to some but what made him such a compelling songwriter beyond the masterful combination of musicianship and an ear for catchy and evocative melodies is the vivid storytelling. High Plains Honky have both qualities as well as no holding up of the nose at pop conventions used in a country context. “Goin’ All The Way” and “I Know Where You Go,” the two sides of the record, seem so relatable even if country music isn’t your thing. A tastefully tiny hint of psychedelia haunts the edges of the music and the aspirational, anthemic quality of the stories suggest a deep knowledge of personal reality but needing to write the songs to escape being too bogged down by current circumstances to go after what you really want while also honoring the emotions subsequent to the potential disappointment, pain and lack of resolution that is a part of everyday life. High Plains Honky invites its listeners to dream just a little bit and to embrace their heartsickness.
Who:DOA and MDC When: Thursday, 05.24, 8 p.m. Where: Streets of London Why: In the annals of hardcore outside of American coastal cities, DOA and MDC have to be considered two of the most important acts out of that movement. DOA from Vancouver, British Columbia, was one of the hardest touring bands for years, spreading the gospel of hardcore across the continent and whose album Hardcore ’81 is, perhaps apocryphally, is often cited as the first use of the term in connection to the musical movement. DOA’s political songs struck personal tones in Joe Keithley’s deft songwriting allowing the band’s music to have an appeal beyond agreeing with every iota of the band’s politics. MDC started in Austin, Texas as The Stains with similarly political punk songs that were more left than most of its peers at the time. It didn’t hurt that singer Dave Dictor seemed to havea personal agenda to push the envelope with fans in his stage persona as the ultimate freak and always with the aim of challenging reductive notions of animal and human rights. Listen to that first MDC album and it’s clear that Dictor was an unabashed critic of police brutality and creeping fascism in a way that makes those songs and their specific anti-authoritarian tone even more relevant now.
Who:The Blackouts w/Adrian Conner (Hell’s Belles) and We Are Invisible and Wild Call When: Thursday, 05.24, 8 p.m. Where: 3 Kings Tavern Why: The Blackouts are an all female rock band that really shows how you can have a fairly straightforward hard rock band and not fall to the boring tropes that happen with too many bands with roots in punk and metal. Adrian Conner from the great all-female AC/DC cover band Hell’s Bells is also playing this show as well as Wild Call, a band whose forthcoming album is reminiscent of White Hills and Medicine.
Who: Amy Shark and Tomi globehall.com/event/1663566-amy-shark-denver When: Thursday, 05.24, 7 p.m. Where: Globe Hall Why: Amy Shark is a pop songwriter from Australia whose 2016 single “Adore” caught the attention of tastemakers in Australia and the song was reissued by Sony Music Australia. That Shark was either in her late 20s or 30 when the song came out explains a bit how her voice and the perspective present in the song had a bit of depth and more of the weight of experience than would be the case of a pop artist a decade or more younger. Shark’s debut full-length, Love Monster, will drop in July 2018 so you can catch her live tonight at Globe Hall before everyone has heard of her.
Friday | May 25, 2018
Who:Amber Mark w/Demo Taped and Adiel Mitchell When: Friday, 05.25, 8 p.m.
Where: Marquis Theater Why: Amber Mark seemed to come out of nowhere when she uploaded her song “S P A C E” to Soundcloud in February 2016. Her voice strong and assured, drawing immediate comparisons to Sade for those qualities and a soulfulness one rarely hears in someone just twenty-two years old. But Mark had something to say and in subsequent singles like “Monsoon,” Mark revealed herself to be a brilliantly poetic songwriter. The 3:33 a.m. EP followed in 2017 and in 2018 Mark released the EP Conexão. Joining her on the Denver date of the tour is Adam Alexander, aka Demo Taped. His electronic pop songs are bright and upbeat but the subject matter of his songs run a broad range of subjects including struggles with anxiety and insecurity. His nuanced and layered songwriting manifested especially strongly on his 2018 EP Momentary.
Who:Orbit Service, Church Fire, The Drood and DJ Mudwulf When: Friday, 05.25, 9 p.m. Where: Lion’s Lair Why: Denver ambient/space rock legends Orbit Service don’t play many shows these days and even less often at a dive bar like Lion’s Lair. The project’s primary figure, Randall Frazier, has been responsible for maintaining and putting together some of the best live sound in Denver rooms like Walnut Room and Ophelia’s Electric Soapbox as well as championing experimental music in the local scene and collaborating with Edward Ka-Spel of Legendary Pink Dots fame. And that would be reason enough to go to this show but also on the bill are Church Fire, a band one might describe as industrial synth pop but its inspired and emotionally fiery performances elevates what could be considered excellent dance music to a higher level. Also, The Drood, a dark, psychedelic, avant-garde prog band.
Who:How To Measure the Weather: Tobias Fike, Ryan Wade Ruehlen, Kari Treadwell, Scott Ferguson When: Friday, 05.25, 6:30 – 7:30 p.m. Where: Emmanuel Gallery Why: This show has been described as a “migratory sound installation” meaning the performers, members of the Flinching Eye Collective, will move their respective sound-making rigs to take advantage of the Emmanuel Gallery on Auraria campus, one of the oldest buildings in Denver, and its architecture to provide a truly unique, one-off environmental sonic experience.
Who:Muscle Beach w/Colfax Speed Queen, Kenaima and Voight When: Friday, 05.25, 8 p.m. Where: Hi-Dive Why: Confrontational, arty hardcore. Furious post-psych garage punk. Crushing, post-hardcore noise rock. Emotionally-charged, industrial post-punk. Also, four of Denver’s best, most interesting and always compelling and entertaining live bands.
Who:Super Bummer album release w/Eye and the Arrow and King Eddie When: Friday, 05.25, 8 p.m. Where: Syntax Physic Opera Why: Super Bummer may be both one of the most ironic and yet accurate names in Denver underground music. The band’s melancholy compositions sure do articulate life’s downbeats with sincerity and self-deprecating humor—a rare combination. Its new album, Big Ambition, out on GROUPHUG, comes out tonight at Syntax where the band will share the stage with the broodingly melodic Americana band Eye and the Arrow and King Eddie, whose 2017 album Holographic Universe is a rabbit hole of beautifully enigmatic sounds and ideas to get lost in across its nine tracks.
Who:La Luz w/Savila and The Kinky Fingers When: Friday, 05.25, 8:30 p.m. Where: Larimer Lounge Why: La Luz may have originally been (and continue to be) inspired by 60s surf rock giants and the great girl groups of the era. But the Los Angeles-based group have long since made their own mark in music, especially with its 2018 album Floating Features, out on Hardly Art. Spooky and soulful, La Luz have mastered the art of nuanced emotional textures and mood so that its songs can be urgent and spend passages of sound swirling in the sweeping heat of a memory that unexpectedly rushes back into your consciousness triggered some moment or detail you encounter in the present. Denver’s The Kinky Fingers possess similar powers of evoking vivid emotions and imagery with their own surf-rooted rock songs.
Saturday | May 26, 2018
Who:Victoria Lundy, Snails and Oysters, Sporehive, Denizens of the Deep and Floating Cave, DJ sets by Franklin Bell and visuals by Orchidz3ro When: Saturday, 05.26, 2:30 p.m. Where: Mutiny Information Café Why: An entire afternoon of some of Denver’s most interesting experimental and avant-garde bands. For instance, Snails and Oysters used to be just Joe Mills but is now a duo creating organic ambient music using rock instruments in unconventional ways. A project that cites psych folk legend Sandy Bull, the artist that did an arrangement of Carl Orff’s symphonic opera masterpiece “Carmina Burana” for five-string banjo and released it on a debut album in 1963, is definitely not coming from predictable places. While every act on the bill is worth checking out and nothing really much like each other, the star of the show is Victoria Lundy who at one time people might have said is better known for being the Theremin player in The Inactivists. But by now she has established herself locally as a gifted composer of electronic and ambient music with the Theremin and synth. One thing that sets Lundy apart is that her music tends to be free of transient, modern culture reference tropes and is rooted in 20th century classical and the first wave electronic music avant-garde. And yet, Lundy makes her music accessible and emotionally engaging. There is plenty of intellect going into the making of the music and the craft and technology but the art comes from the heart.
Who:102 Wires When: Saturday, 05.26, 5 p.m. Where: Bar Max Why: This is a celebration of the possibilities of guitar in music beyond the typical use of the instrument in popular or even experimental music. Read our interview with organizer Kevin Richards here.
Sunday | May 27, 2018
What:A Life Celebration For Steve Gordon When: Sunday, 05.27, 1 – 4 p.m. Where: Mercury Café Why: This will be an event honoring the late, great, Steve Gordon. Steve was a visual artist, sculptor and musician who contributed greatly to the local avant-garde improvisational and ambient music scenes in Denver. Steve passed away in early May following a prolonged battle with cancer but as a widely admired figure, his legacy of excellence, originality, humanity and humor will continue to have an impact in the Denver art world for years to come. For the event friends and collaborators will share stories, music, poetry, food and drink. Read Lauri Lynnxe Murphy’s excellent piece on Steve for Westword here and our own interview with the artist from November 2017 here.
Who:Textures featuring Tunica Externa, paperbark, Lepidoptera When: Sunday, 05.27, 7 p.m. Where: Mutiny Information Café Why: This will be John Mulville’s last show in Denver for a while as he’s moving back to Minneapolis for the duration. His ambient project paperbark has brought some of the most compelling, textured to grace Denver spaces in recent years. Generating sounds with treated modular synth tones, Mulville’s compositions suggest natural spaces with a physicality suggested by the earlier reference to texture. It’s like you experience a tactile sensation through a creative crafting of atmosphere. Though Mulville will be back through town, we won’t have the luxury of catching any of his soothingly hypnotic sets regularly.
Who:ManifestiV, Bloodied, eHpH and Keldari Station When: Sunday, 05.27, 7 p.m. Where: Seventh Circle Music Collective Why: ManifestiV from Vallejo, California sounds like it came out of the intersection of the burner community that embraces both industrial music, electronic dance and New Age concepts in the use of sound. But it works though at times you expect it to be the soundtrack to some kind of hippie-esque cyberpunk video game. But who wouldn’t want to play that game? Denver’s Keldari Station sounds like it’s coming from a similar place but its own music is more pop, has more elements of dub and old school glam rock. eHpH, like the other bands on this bill, is a duo with a penchant for dark, atmospheric music. Except this duo has managed to combine EBM with industrial rock without sounding like they’re trying to fit in with the tired old Goth scene sound of the 90s and 2000s. The band’s music is more experimental, more nuanced in its emotional expressions, than bands who really want to be a new version of Suicide Commando.
Tuesday | May 29, 2018
Who:King Tuff w/Cut Worms and Sasami When: Tuesday, 05.29, 7 p.m. Where: Globe Hall Why: At the end of his last tour, Kyle Thomas was sick of the party monster persona he had cultivated for years as King Tuff. The pressure to live up to something you’re not because it benefits you professionally and to some extent artistically erodes you more than a little on the inside and Thomas was feeling it. “I was a lost soul,” Thomas posted on his website regarding the release of his 2018 album The Other. “I didn’t know who I was anymore.” The new record is certainly a bit of a departure for Thomas. Any trace of the garage rock that informed his earlier releases is pretty much gone. There is a soulfulness and an overt spirit of experimentation running through all the songs for the release. In moments its tinge of futuristic funk and glam prog are reminiscent of I Robot period The Alan Parsons Project.
Also playing this show is Cut Worms. The band’s main creative force is Max Clarke who seems tapped into a mid-60s pop sort of sound and aesthetic. There is a simplicity and clarity of melody and songwriting that we’ve heard plenty of, likely, in this era of mining past decades for artistic inspiration. But especially on Clarke’s 2018 album Hollow Ground the subject matter isn’t so clean and tidy and his songs, like the era it perhaps sonically echoes, reflect a self-aware sense of social anxiety, a painful yearning but struggling with real or endlessly imagined inability to not fuck things up somehow and a willingness to stumble and scrape through even if life doesn’t always, or never does, turn out as planned or hoped. The brilliance comes in striking that balance—being real alongside the sounds of a time many romanticize in spite of the dark and grisly underbelly of people’s lives and the culture itself.
Who:Broncho w/The Paranoyds and Valen When: Tuesday, 05.29, 8:30 p.m. Where: Lost Lake Why: Broncho formed in 2010 in the wake of the dissolution of indie pop weirdos Starlight Mints. Ryan Lindsey of the latter, went on to play guitars, keys and perform lead vocal duties in Broncho. The four-piece has always been kind of an outsider in the music world in that it never really fit in with any emerging trend and was probably too weird to hit it big time in the mainstream. But Lindsey knows he doesn’t belong there. At this point, Lindsay has already done his time deconstructing pop in Starlight Mints and it’s obvious that subverting the tropes of indie, garage and psych rock this past decade isn’t as interesting as it might have been a few years ago. 2016’s Double Vanity found Broncho excavating and exploring some of the sonic ideas that Phil Elverum was onto on those final two The Microphones records, 2001’s The Glow Pt. 2 and 2003’s Mount Eerie. But without imitating Elverum’s richly imaginative and innovative soundscaping. With any luck, this version of Broncho will represent the band’s next phase of its injecting the pop format with expansive ideas and sounds.
Wednesday | May 30, 2018
Who:Gang of Youths w/Hannah Wicklund & The Steppin Stones When: Wednesday, 05.29, 7 p.m. Where: Globe Hall Why: Gang of Youths’ 2017 sophomore album Go Farther in Lightness garnered near universal acclaim in the band’s home country of Australia. Rightfully so. It has the poetic insight and depth of early Bruce Springsteen and more recent from Titus Andronicus. Like both of those artists, Gang of Youths has a gift for taking the mythical/universal aspect of everyday experiences and giving it a poignantly personal expression. There’s a song called “What Can I Do If the Fire Goes Out?” that goes beyond that whole rediscovering your bliss and your passion nonsense. But it’s a whole record of songs that might seem like a collection of trite platitudes but in the end are the exact opposite. It’s highly energetic indie rock but the emotional and intellectual content run a lot deeper with Gang of Youths.
Who:Nunofyrbeeswax w/Open to the Hound, Claudzilla and Rat Bites When: Wednesday, 05.30, 8 p.m. Where: 3 Kings Tavern Why: Berlin’s Nunofyrbeeswax brings together aspects of indie pop, naïve lo-fi rock and outsider pop in its music. Good thing its on a bill with local weirdos in keytar punk Claudzilla, gritty indie pop outfit Open to the Hound and Germs-esque noise punkers Rat Bites.
Who:Ufomammut w/White Hills and Tjutjuna When: Wednesday, 05.30, 8 p.m. Where: Hi-Dive Why: Saying Ufomammut is a doom metal band from Italy is a bit like saying that Neurosis is a post-hardcore band from the Bay Area. Clearly Neurosis found some kinship with the trio from Tortona, Italy because Neurot Recordings issued the group’s most recent four records in the USA. Ufomammut’s music has elements of doom and sludge metal but its psychedelic drones and industrial sounds have more in common with the other bands on the bill than a straightforward doom band.
New York City’s White Hills has been exploring past settled territories of modern psychedelic rock since its 2003 inception. The duo of Dave W and Ego Sensation use drum machins and sampled rhythms to set a frame in which each can weave a mind-altering and hypnotic soundscape of vivid tones and dark atmospheres. The band’s storytelling and Dave’s vocals are reminiscent of what one might hear on a Legendary Pink Dots or Skinny Puppy album in which there’s no rockist self-aggrandizement or empty calories rhetoric. Dave has something to say, observations to make and narratives to give in his songs that are frankly worth listening to in themselves but couched in an immersive experience in the listening and especially so in the live setting. The group’s 2017 album Stop Mute Defeat, out on Thrill Jockey, is a major leap forward in terms of capturing the band’s masterful use of mood, texture and atmosphere to craft psychological experiences in the form of song.
Denver’s Tjutjuna rarely plays live shows these days, but the band and its talent for krautrock-inspired mind-expanding drones and percussion was always ahead of the curve of so-called “psychedelic rock” bands in the Mile High City. Like White Hills, Tjutjuna is no stranger to employing motorik beats except with a live drummer and the clear melding of the aesthetics of psych, noise and the avant-garde sets the group galaxies ahead of indie rockers who recently discovered how to maybe use reverb pedals with chorus. Quaint. Tjutjuna? Not so much.